THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


It  is  the  duty  of  PupHs  to  assist 
the  State  by  guarding  and  using 
this  book  with  care,  so  that  it  may 
yield  good  service.  Only  one  book 
can  be  given  to  a  pupil.  He  should 
cover  it  with  paper  or  other  pro- 
tective material.  If  he  loses,  dam- 
ages, or  destroys  it,  he  should  re- 
place it  at  his  own  expense.  It  if 
the  duty  of  Teachers  to  encourage 
and  enforce  these  provisions. 


,       SOUTHERN   BRA;sJCH     . 
In County.    _. 

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,    191.. 

Date  of  issue. 


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TEACHER'S  MANUAL 

VOLUME  III 
FOR  SIXTH,  SEVENTH  AND  EIGHTH  GRADES 

WITH  ACCOMPANIMENTS  FOR  BOOK  THREE 

The  Progressive  Music  Series 


BY 

HORATIO  PARKER 

Dean  of  the  Department  o(  Music,  Yale  University 

OSBOURNE  McCONATHY 

Director  of  the  Department  of  School  Music,  Northwestern  University 

EDWARD  BAILEY  BIRGE 

Director  of  Music,  Public  Schools,  Indianapolis,  Indiana 

W.  OTTO  MIESSNER 

Director  of  the  Department  of  Music,  State  Normal  School,  Milwaukee,  Wiscoiuill 


e^lvaraity  of  Calif„„, 

^^mm  SCHOOL  u;^°:  ^s»i^= 


CALIFORNIA  STATE  SERIES 


1)EP.\RTMEXT   OK    StaTK    1'RINTING 

KOBERT  Tj.  Tei.i'RH,  Superintendent 

SACRA  MKNTO 


This  volume  contains  much  original  matter  which  is  covered  hy  the 
copyright  of  the  bool^  and  must  not  he  used  without  special  permission 

CopYRrCHT    1918,    BV    THE    PEOPLE    OF    THE    STATE    nF    Ca1.IF0R.NIA 

Copyright,  1916,  1917,  by  Silver,  Burdett  and  Company 


Library 


\J. 

PREFACE 

The  Progressive  Music  Series  aims  to  contribute  to  the  progress  of 
school  music  education  through  the  reahzation  of  two  ideals:  first,  the  raising 
of  the  standard  of  music  studied  in  the  schools  by  jiresenting  only  material 
of  the  highest  quality;  and  second,  the  organization  of  this  material  into  a 
plan  of  instruction  through  which  children  shall  learn  not  only  to  sing  the 
songs  with  full  appreciation  of  their  nujsical  and  literary  qualities  but  shall 
also  develop  a  thorough  mastery  of  all  the  problems  of  vocal  sight  reading. 

The  music  matei-ial  of  the  series,  assembled  from  all  available  sources,  in- 
cludes folk  songs  of  many  nations,  classic  compositions,  and  original  contri- 
butions from  the  foremost  living  composers.  The  songs  were  selected  solely 
on  the  basis  of  inherent  merit  and  direct  appeal  to  children,  and  were  then 
classified  and  assigned  to  theii*  appropriate  places  in  the  coiirse. 

The  pedagogical  plan  of  the  series  is  the  result  of  many  years  of  practical 
classroom  experience.  It  takes  into  consideration  every  important  forward 
step  in  nmsic  education  and  is  in  thorough  accord  with  the  conclusions  of  the 
leading  authorities  on  child  study  and  educational  psychology. 

Books  Ouc,  Two,  and  Three  contain  the  songs  as  studied  by  the 
puijils.  The  aeeonipaniineuts  for  the  lirst  three  books  and  the  t)ut- 
lines  for  the  technical  work  are  given  in  the  Teacher's  Manuals. 
This  exclusion  from  the  pupils'  books  of  the  accompaniments  and 
of  all  drills,  exercises,  and  instructions  to  teachers  makes  it  possible 
to  include  in  these  volumes  a  far  greater  number  of  songs  than  would 
otherwise  have  been  jDossiblc,  thus  making  the  books  less  confusing 
and  more  attractive  to  children  by  including  only  material  of  inter- 
est to  them. 

The  Teacher's  Manuals  contain  clear  and  detailed  instructions  for  carrying 
on  the  music  study.  Manual  Volume  I  accompanies  Book  One  and  covers 
the  work  of  the  first  three  grades.  Manual  Volume  II  accompanies  Book  Two 
and  covers  the  work  of  grades  four  and  five.  Manual  Volume  III  accompanies 
Book  Three  and  covers  the  work  of  grades  six  and  seven. 

Pupils  using  Book  One  of  the  Progressive  Music  Series  are  in  the  Sensory 
Period '  of  development.  The  song  material  of  Book  One  and  the  plan  of 
study  outlined  in  Teacher's  Manual,  Volume  I,  contribute  specifically  to  thi; 
development  of  the  characteristic  attributes  of  that  period.  The  children  in 
the  fourth  to  seventh  grades  inclusive  are  in  the  Associatii'e  Period.^  Books  Two 
and  Three,  with  their  respective  Manuals,  Volumes  II  and  III,  aim  definitely 
to  develop  the  essential  characteristics  of  this  period,  and  are  similar  in 
pedagogical  plan.  For  this  reason  also  the  General  Suggestions  to  the  teacher 
are  practically  the  same  in  Manuals  II  and  III.  On  the  other  hand,  the  specific 
directions  for  carrying  on  the  work  are  progressive  in  character,  and  refer 

'■  See  page  3. 


984454 


iv  PREFACE 

directly  to  tho  toxt  book  that  is  being  studied.  In  order,  however,  that  the 
teacher  may  plan  her  woriv  to  the  best  advantage,  topical  outlines  lor  the 
whole  period  are  included  in  each  Manual. 

The  Cha])tcr  Outliiics  of  Manual  Volunio  ITT  <'Oiitain  specific 
directions  for  ample  drill  in  connection  with  the  .song.s  of  Book  Three,  also 
analy.ses  and  interpretations  of  the  songs.  The  technical  drills  are  based 
on  the  song  material  and  are  concrete,  definite,  and  progressive.  Drills  upon 
Tone,  Time,  and  Theory  pi-oblems  are  treated  separately  for  the  sake  of  clear- 
ness and  definiteness.  Each  chapter  emphasizes  one  new  problem,  and  the 
other  problems  in  the  chapter  are  comparatively  simple. 

Although  the  monthly  outlines,  as  well  as  the  chapter  outlines,  are 
worked  out  in  detail,  it  is  not  intended  that  the  Manuals  shall  supplant  the 
work  of  the  Supervisor.  They  are  designed  to  relieve  him  of  the  necessity  of 
giving  technical  directions  to  teachers  and  of  spending  a  large  proportion  of 
his  time  in  planning  the  mechanical  details  of  music  instruction.  Thus  re- 
lieved, his  time  may  be  devoted  to  the  inspirational  and  interpretative  side 
of  the  work,  and  he  will  have  a  better  opportunity  to  carry  out  the  larger  plan 
of  elevating  the  musical  tastes  and  standards  of  the  community. 

ACKNOWLEDGMENTS 

The  courtesy  of  tlio  following  authors  and  publishers  in  allowing  the  use  of  cop>Tighted  poems  is 
hereby  ackiiovvlcdgetl : 

Anna  M.  Pratt  for  "A  Morning  Song."  Alfred  James  Waterhouse  for  "When  I  Go  Out  on  My 
Wheel  "from  "The  Athlete's  Garland."  William  S.  Lord  for  "  Dream  and  Snow  fiake  "  from  "The 
Rock-a-bye  Book  "  (Fleming  H.  Revell  Co.).  Laurence  Alma-Tadema for  "  The  Owl "  and  "  Near 
Autumn."  Frank  Walcott  Hutt  and  Eaton  &  Maine  for  "October  Song."  .\nnic  Willis  McCul- 
lough  and  The  Metro iKtliian  for  "The  Green  World."  May  Elizabeth  White  and  The  Admnri:  for 
"My  Bedtime."  Euni<^e  Ward  and  The  Woman'x  Home  Companion  for  "So  Ignorant."  The  YoiMh'a 
Companion  for  "Harvest  Slumber  Song"  by  William  Wilfred  Campbell  and  "The  Listening  Woods" 
by  Ida  Whipple  Benham;  and  T)ie  Youth's  Companion  and  the  authors  for  " \  Hymn  for  a  Child" 
by  Laura  E.  Richards,  "Tree-top  Mornings"  by  Ethelwyn  Wetherald,  "  Daffydowndilly "  by 
Mary  Wilder  Pease,  and  "X  Child's  Fancy"  by  Miriam  S.  Clark.  The  Century  Company  for  "A 
Suggestion  for  a  Happy  New  Year"  by  Mary  Mapes  Dodge.  Houghton  Mifflin  Company  for  "At 
the  Wintlow"  by  Mauiiee  Thompson.  "Friends,"  by  .4bbie  Farwell  Brown,  "The  Dandelions"  by 
Helen  Gray  Cone,  and  "Lullaby  by  Frank  Dempster  Sherman  are  also  used  by  permission  of  and 
by  special  ari-angement  with  Houghton  Mifflin  Company,  authorized  publishers  of  their  works. 

Thanks  are  also  due  for  authority  to  us<^  the  words  and  music  of  the  following  songs:  "Brave  of 
Heart  and  Warriors  Bold"  and  "Bosnian  Shepherd's  Song"  from  "Airs  of  All  Lands"  by  .lohn 
Philip  Sousa,  published  by  Carl  Fischer.  "Past  Three  O'clock"  and  "It  Was  a  Lover  and  His  Lass" 
from  "Songs  of  the  British  Isles,"  pubhshed  by  J.  Curwcn  &  Sons,  Ltd.  The  music  only  of  "In 
Ocean  Cave"  from  "Songs  of  Sweden"  and  "Ye  Olden  ChrLstmas"  from  "Forty-four  French  Songs 
.and  Variants,"  published  by  G.  Schirmer.  "The  Seven  Swan  Ladies"  is  from  a  collection  of  ten 
■songs  for  children  by  Walter  Morse  Rummel,  published  by  Augener,  Ltd.,  London,  W.  The  songs 
by  Catharina  van  Rennes  are  used  by  permission  of  the  composer  and  of  the  publisher,  Jac.  van 
Rcnnes.  The  song  by  Hendrika  van  Tussenbroek  is  used  by  permission  of  the  publisher,  Firma 
J.  .\.  H.  Wagenaar. 


TABLE  OF  CONTENTS 

INTRODUCTION  paoe 

Modern  Educational  Ideals 3 

Stages  of  Devpl(>|)mcnt 3 

1.  The  Sensory  Period 3 

2.  The  Associative  Period 4 

3.  The  Adolescent  Period 4 

Pedagogical  Conclusions 4 

1.  The  Sensory  Period 4 

2.  The  Associative  Period a 

3.  The  Adolescent  Period 6 

Bibliography 7 

PART  ONE:   GENERAL  SUGGESTIONS   FOR  INTER MEDIATi:  0]?ADES 

1.  Ainis  of  School  Music  Instruction 9 

II.  Music  Appreciation 9 

1 .  Choice  of  Material      10 

2.  The  Development  of  a  Finer  Emotional  Life 11 

3.  Development  of  Bases  for  Intelligent  Judgment 11 

4.  Feeling  for  Tonality  and  for  Harmonic  Content 13 

5.  Judgment  from  the  Standpoint  of  Style 14 

6.  Development  of  Discriminating  Taste 15 

III.  ^jjice  Cultui-e 10 

1.  Tone  Quality 1(5 

2.  Breath  Control 17 

3.  Vowels 17 

4.  Diphthongs 18 

5.  Development  of  Smooth,  Even  (Jualil.\- 18 

6.  Development  of  Flexibility 19 

7.  Consonants 20 

S.  Part  Singing 21 

9.  Hygiene  of  the  Voice      22 

IV.  -Sight  Reading 22 

1.  The  Reading  Process      22 

2.  Previous  Experience 23 

3.  Development  of  Fluent  Sigiit  Reading 24 

4.  -'The  Three  T's"  of  Sight  Reading 25 

5.  Use  of  Tone  Drills 25 

6.  Use  of  Time  Drills 25 

7.  Use  of  Theory  Drills 2(j 

8.  The  Synthetic  Application  of  "The  Three  T's" "2(5 

V.  Interpretation 28 

VI.  Special  Training  of  Le.ss  Musical  Children 30 

VII.  The  Conduct  of  the  Music  Recitation      32 

V 


/ 

/ 


vi  CONTENTS 

PART  TWO:  GRADED  OUTLINES  p»<,„ 

I.  Monthly  Outlines  —  Number  One 35 

Sixth  Grade 35 

Seventh  Grade 38 

II.  Monthly  Outhnes  —  Number  Two 41 

Sixth  Grade 41 

Seventh  Grade 44 

III.  Monthly  Outlines  —  Number  Three 46 

Sixth  Grade 46 

IV.  Topiial  OutUnes  —  Tone 49 

Fourth  Grade 49 

Fifth  Grade 49 

Sixth  and  Seventh  Grades 51 

V.  Topical  Outlines  —  Time' 52 

Fourth  Grade 52 

Fifth  Grade 52 

Sixth  and  Seventh  Grades 53 

VI.  Topical  Outlines  —  Theory 54 

Fourth  Grade 54 

Fifth  Grade 55 

Sixth  and  Seventh  Grades       59 


PART  THREE:  CHAPTER  OUTLINES 

Chapter        I.  Melodies  Re\'iewing  Topics  of  Book  Two 61 

Chapter      II.  Melodies  in  the  Melodic  Minor  Scale 67 

Chapter     III.  The  Eighth-Note  Beat 72 

Chapter     I\'.  The  Dotted  Quarter-Note  Beat;   More  Advanced  Studies 76 

Chapter       V.  Modulations  to  Nearly-related  Keys 78 

Chapter      VI.  The  Half-Note  Beat 84 

Chapter    VII.  More  Advanced  Song  Forms      86 

Chapter  VIII.  The  Introduction  of  Three-Part  Singing 92 

Chapter      IX.  Four  Equal  Notes  to  a  Beat      96 

Chapter        X.  Four  Tones  Ascending  Chromatically 100 

Chapter      XI.  Triplets:  Three  Notes  in  the  Time  of  Two 102 

Chapter    XII.  Four  Tones  Descending  Chromatically 105 

Chapter  XIII.  Syncopation      ■. 107 

Chapter  XIV.  Miscellaneous  Songs  in  One,  Two,  and  Three  Parts 109 


( '( )X'rE\TS  vii 

Paut  Three  —  Ch apteu  Outlines     {Cnntinucd)  pack 

Chapter       XV.  Complicate  1  I{li.Mlinis HI 

(haptin-     X\'l.  Mdilulations  to  HiMiiotc  Kej's 114 

ChapliT    XVn.   ('ulHru])Uiit:il  Style 116 

Cliaptrr  XVIll.  Till-  DiittriU^iuirtcr-Xotc  Heat;  Advanced  Studios 117 

PAHT    FOCR:  AC'COMPAXIMKXTS   FOR   SONGS   IN   BOOK  THREE 121 

GLOSSARY 303 

INDEX  OF  SONGS      309 


THE  PROGRESSIVE  MUSIC  SERIES 
TEACHER'S  Manual 

VOLUME  III 


INTRODUCTION 

MODERN   EDUCATIONAL   IDEALS 

The  educational  ideals  of  the  present  day,  influenced  by  psychological 
research  and  child  study,  have  brought  about  many  changes  in  elementary 
school  standards,  aims  of  educators,  and  methods  of  teaching.  In  all  branches 
educators  are  now  agreed  that  the  material  used  must  be  intrinsically  inter- 
esting; that  it  must  possess  elements  of  permanent  value;  that  it  must 
jappeal  to  the  minds  and  interests  of  the  children  for  whom  it  is  intended; 
and  that  the  methods  of  presentation  adopted  in  any  given  grade  must 
apply  to  the  stage  of  mental  development  characteristic  of  that  grade. 
In  other  words,  the  subject  matter  and  the  pedagogical  scheme  must 
be  adapted  to  the  children,  instead  of  adapting  the  children  to  an  adult's 
comprehension  of  subject  matter,  or  to  a  logical  and  empirical  pedagogy.^ 

STAGES    OF   DEVELOPMENT 

Modern  psychological  and  pedagogical  investigators  have  established 
the  fact  that  there  are  three  well-defined  stages  in  the  physical  and  mental 
growth  of  children,  extending  through  and  beyond  the  Primary,  Interme- 
diate, and  Grammar  grades.  These  are:  first,  the  Sensory  Period,  begin- 
ning with  infancy  and  continuing  into  the  third  grade,  which  is  transitional; 
second,  the  Associative  Period,  extending  through  the  fourth,  fifth,  and  sixth 
grades,  the  seventh  being  another  transitional  grade;  third,  the  Adolescent 
Period,  usually  beginning  in  the  seventh  grade  and  continuing  tlirough  the 
eighth  grade  and  into  the  high  school.- 

1.  The  Sensory  Period 

The  Sensory  Period  is  marked  by  extremely  rapid  physical  growth,  ac- 
companied by  a  lack  of  the  finer  muscular  and  mental  coordinations.  It 
is  a  time  of  physiological  development  and  sensory  activity,  dealing  with 
objects  and  concrete  experiences.  Interest  is  sporadic  and  is  more  concerned 
with  the  activity  itself  than  with  its  product.  Suggestion,  fancy,  imagina- 
tion, keen  observation,  and  imitation  play  a  large  part  in  the  child's  life. 
Impressions  and  stores  of  experience  are  being  gathered  which  later  become 
the  foundation  stones  of  the  child's  educational  structure.'' 

•  See  McMurry,  "How  to  Study,"  page  53",  Partridge,  "Genetic  Pliilosophy  of  Educ/ 
tion,"  pages  99-101. 

'  See  Partridge,  "Genetic  Philosophy  of  Education,"  page  73. 
«  See  Tyler,  "Growth  and  Education,"  pages  131-145. 

3 


TEACHER'S  MANUAL 

2.  The  Associative  Period 

The  Associative  or  Drill  Period  is  distinguished  by  comparatively  slow 
physical  growth.  Teething  has  been  completed,  and  the  brain  has  grown  to 
nearly  the  adult  size.  The  finer  adjustments  and  coordinations  of  the  body 
and  of  the  mind  arc  now  accomplished  with  greater  ease;  physical  feats 
requiring  dexterity  and  skill  are  easily  performed.  "There  is  great  endur- 
ance, strong  vitality,  and  excellent  resistance  to  mental  fatigue.  Memory  is 
quick,  sure,  and  lasting.  Never  again  will  there  be  sueh  susceptibility  to 
drill  and  discipline.  There  is  interest  in  the  product  of  activity,  and  no 
longer  entirely  in  the  activity  for  its  own  sake."  '  The  child  is  associating 
the  experiences  gained  through  sense  development,  and  is  classifying  and  or- 
ganizing them  into  usable  related  groups. 

3.  The  Adolescent  Period 

The  Adolescent  Period  is  again  characterized  by  rapid  physical  growth, 
described  by  Magnusson  as  an  "enlargement  of  the  jjlant"  requiring  so 
much  energy  that  there  is  little  left  for  "current  expenses."  The  period 
marks  the  maturing  of  the  child  into  young  manhood  or  womanhood  and  is 
accompanied  by  changes  in  the  mental  life  as  radical  as  those  manifested 
in  the  physical  life.  The  emotions  dominate  the  individual;  in  fact,  the  whole 
significance  of  adolescence  is  emotional;  strong  social,  moral,  and  religious 
convictions  are  prominent  characteristics. 

In  these  years  the  molding  of  character,  the  development  of  high  ideals, 
and  the  forming  of  good  taste  and  artistic  discrimination  are  of  great  im- 
portance.^ 

PEDAGOGICAL   CONCLUSIONS 
1.   The  Sensory  Period 

It  is  obvious  that  the  child's  sense  experience  with  music,  which  he  gains 
through  the  .sen,se  activity  of  the  ear,  must  be  based  upon  real  music,  real 
songs;  for  these,  and  not  the  scale  or  technical  exercises,  represent  the  con- 
crete in  music,  in  which  the  child  is  naturally  interested.  It  is  also  appar- 
ent that  the  songs  chosen  must  be  intrinsically  beautiful  and  not  too  long, 
if  we  would  succeed  in  holding  his  sporadic  attentive  powers;  that  they  must 
appeal  to  his  interests,  and  arouse  his  imagination. 

Like  language  experience,  the  child's  early  musical  experience  must  be 

acquired  by  imitation,  for  this  power  is  his  strongest  faculty  at  this  stage. 

Therefore  these  songs  are  designated  as  "  rote  songs,"  to  be  learned  by  imita- 

on.     The  child  must  be  saturated  with  rote-song  experience:    he  must  be 

'  See  Magnusson,  "Psychology  as  Applied  to  Education,"  page  222. 
»  See  Hall,  "Educational  Problems,"  page  123. 


INTRODUCTION  5 

taught  to  love  music  and  to  love  to  sing;  to  sing  with  light,  mellow  tone 
quality,  and  to  express  his  feelings  in  an  artistic  manner  thi-ough  the  songs 
he  loves.  This  training  of  the  voice  and  developing  of  the  ability  to  sing 
artistically  are  in  thorougli  sympathy  with  the  psychological  characteristics 
of  the  period.  The  child  learns  by  observing,  by  imitating,  by  doing  the 
thing  himself. 

He  must  be  taught  to  hear  accm-atelj'  and  to  express  accurately  what 
he  hears,  just  as  in  the  language-learning  process.  He  must  be  made  con- 
scious not  onlj'  of  the  song-wholes  which  interest  him,  but  also  of  the  smaller 
tone  groups  of  which  the  songs  are  composed. 

The  first  studies  must  be  analytical  in  then-  nature,  beginning  with  familiar 
song-wholes,  and  working  towai'd  the  smaller  constituent  elements.  Later 
these  elements  are  to  be  synthetically  recombined  by  the  child  so  as  to 
give  him  a  new  and  more  intimate  conception  of  the  original  song-whole. 
Still  later,  in  reading  new  songs,  the  child  will  be  called  upon  to  make  use 
of  these  familiar  elements  in  grasping  the  musical  ideas  embodied  in  the 
new  wholes. 

A  definite  tone  vocabulary  and  a  feeling  for  tonality  and  rhythm  are 
thereby  developed,  which  will  later  prove  indi.spensablc  in  the  analysis  and 
intelligent  reading  of  new  songs  from  notation.  The  power  to  think  in  tones 
and  in  tone  relationships  corresponds  to  the  ability  to  think  in  a  language, 
to  comprehend  the  meaning  of  words  used  to  represent  familiar  ideas,  and  to 
express  thoughts  and  feeling.^  in  that  language.  It  is  a  fundamental  prin- 
ciple that  experience  with  objects  and  facts  must  precede  the  study  of  the 
symbols  which  represent  them.' 

2.   The  Associative  Period 

The  Associative  Period  is  the  time  for  independent  work  in  music,  for 
formal  drill  in  the  various  tonal  and  rhythmic  combinations  until  automatic 
control  of  them  is  acquired.  Here,  if  at  all,  independent  power  in  sight 
reading  and  interpretation  is  to  be  realized.  Psychologically  considered,  it 
is  the  proper  time  for  this  type  of  study.  The  children  are  ready  and  eager 
for  hard  work,  for  memorizing  combinations,  for  drill,  for  solving  prob- 
lems independently,  in  short,  for  technical  mastery.  Attention  must  become 
more  voluntary,  less  sporadic.  The  continued  use  of  beautiful  songs, 
arranged  in  such  sequence  in  the  books  that  topically  the  problems  to  be 
mastered  will  follow  in  natural  and  logical  order,  will  be  the  best  means  of 
securing  voluntary  attention.  Through  such  topical  arrangement  the  neWj 
in  experience  is  related  with  the  old  and  the  development  is  logical,  "fror 

1  See  Colvin,  "The  Learning  Process,"  page  92;  McMurry,  "Elementary  School  Stau 
ardfi,"  page  102;  Gilbert,  "What  Children  Study  and  Why,"  page  2G4. 


6  TEACHER'S  MANUAL 

the  known  to  the  unknown."  There  is  no  excuse,  in  the  light  of  present-day 
researches,  for  a  haphazard  and  heterogeneous  arrangement  of  song  ma- 
terial, nor  yet,  on  the  other  hand,  for  recourse  to  the  use  of  mechanical  exer- 
cises, or  "study"  songs  without  life  or  inspiration,  merely  for  the  sake  of  the 
problem  involved. 

In  this  series  tonal  and  rhythmic  problems  are  classified  and  studied  with 
absolute  definiteness  and  attention  to  minute  details.  In  Books  Two  and 
Three,  which  cover  the  work  of  the  Associative  Period,  the  songs  embody- 
ing these  problems  are  organized  into  chapters.  A  fundamental  principle  is 
that  where  the  introduction  of  new  tonal  problems  is  involved  the  rhythmic 
ideas  should  be  familiar,  and,  vice  versa,  where  the  introduction  of  a  new 
rhythmic  problem  is  involved  the  melodic  ideas  should  be  familiar.  Gen- 
erally speaking,  four  steps  are  necessary  for  the  logical  unfolding  of  a  musical 
problem  in  the  Associative  or  Drill  Period:  (1)  a  review  of  a  familiar  song 
which  embodies  the  problem;  (2)  a  clear  statement  of  the  problem  to  the 
pupils;  (3)  definite  and  thorough  drill  on  the  problem,  isolated  from  the 
context;  (4)  application  of  the  mastered  problem  in  reading  new  songs  in 
which  it  occurs.^ 

The  first  step  brings  to  mind  the  fact  that  the  use  of  rote  songs  is  con- 
tinued through  the  fourth  and  fifth  grades,  although  in  far  less  proportion 
than  in  the  primary  grades.  The  object  is  twofold:  first,  continually  to  bring 
the  children  into  contact  with  beautiful  and  inspired  music  not  limited  to 
their  immediate  technical  powers;  second,  to  provide  actual  experience  ^\-ith 
new  musical  effects,  gained  unconsciously  by  imitation,  which  later  are  to 
be  consciously  studied  as  problems  and  mastered. 

'   3.  The  Adolescent  Period 

The  Adolescent  Period  reveals  characteristics  markedly  similar  to'  cer- 
tain of  those  in  the  Sensory  Period,  e.g.,  a  rapid  physical  growth  accom- 
panied by  somewhat  lazy  physical  and  mental  habits.  It  is  not  a  favorable 
period  for  exact  attention  to  detail,  nor  for  di-ill  in  mechanical  precision. 
It  is,  as  we  have  seen,  an  age  of  emotionalism,  for  the  development  of  the  finer 
sentiments  and  feeUngs.  The  child  is  becoming  conscious  of  himself  as  a 
factor  in  the  race,  as  an  integral  part  of  society.  The  "gang"  spirit  is  in 
the  air  and  should  be  recognized  in  the  music  work.  "Team  work"  finds 
its  expression  in  part  singing. 

Music  should  be  selected  to  make  a  strong  appeal  to  the  emotional  side  of 
the  adolescent  pupil.  Here,  if  anywhere,  music  of  sheer  beauty  of  melody  and 
of  appealing  harmonies  must  be  used  if  it  is  to  hold  the  interest  of  these  young 

'  SeeBryan,  "Basisof  Practical  Teaching,"  pages  176-178;  McMurry,  "  Elementary  School 
tandards,"  pages  104,  105. 


INTRODUCTION  7 

people.  Much  singing,  with  constant  play  on  the  feelings,  is  the  keynote  to 
success  here.  It  is  not  wise  even  to  insist  on  too  exact  details  in  the  inter- 
pretation, involving  much  rejx^tition  and  drill.  Encouragement  rather  than 
criticism  is  needed;  inspired  leadership  rather  than  critical  authority. 

Time  may  profitably  be  devoted  to  the  study  of  the  great  composers  as 
the  equals  of  other  men  of  achievement;  an  interest  in  their  works  is 
enhanced  by  such  study,  and  the  pupils'  viewpoints  of  life  and  of  history 
are  broadened.  The  graphophone  and  the  player  piano  have  here  a  great 
mission  to  perform  in  the  development  of  musical  taste.  Study  of  the  form- 
structure  and  of  the  thematic  divisions  of  the  larger  works  will  prove  both 
interesting  and  profitable. 


BIBLIOGRAPHY 

Briggs  and  C  off  man 

Reading  in  the  Public  Schools Row,  Peterson  &  Companj',  Chicago. 

Bryan,  E.  B. 

The  Basis  of  Practical  Teaching    ....     Silver,  Burdett  &  ('om])any,  Boston. 

Colvin,  S.  J. 

The  Learning  Process      The  Macmillan  Company,  New  York. 

Cornell,  J.  H. 

Musical  Form G.  Schirnicr  &  Co.,  New  York. 

Dawson,  John  J. 

The  Voice  of  the  Boy The  A.  S.  Barnes  Company,  New  York. 

Dewey,  John 

How  We  Think D.  C.  Heath  &  Co.,  Boston. 

Famsworth,  Charles  H. 

Education  Through  Music American  Book  Company,  New  York. 

Fryberger,  Agnes  Moore 

Listening  Lessons  in  Music Silver,  Rurdctf  &  Company,  Boston. 

Gilbert,  Charles  B. 

What  Children  Study  and  Why    ....     Silver,  Burdett  &  Company,  Bo.ston. 

Goetschius,  Percy 

Lessons  in  Music  Form Oliver  Ditson  Company,  Boston. 

Hall,  G.  Stanley 

Educational  Problems D.  Appleton  &  Company,  New  York./ 

Youth.      Its     Education,    Regimen    and 
Hygiene D-  Appleton  &  Company,  New  York 


8  TEACHER'S   MANUAL 

Huey,  Edmund  Burke 

Psycholog>'  and  Pedagogy  of  Reading     .    .      The  Maeinillan  Company,  Xcw  York. 

James,  William 

Psychology Ileiiry  Holt  and  Company,  New  York. 

Talks  to  Teachers Henry  Holt  and  Company,  New  York. 

Judd,  C.  H. 

Genetic  Psychology D.  Appleton  &  Company,  Now  York. 

Keith,  J.  A.  H. 

Elementary  Education Scott,  I'oresman  it  Co.,  C'liicago. 

King,  Walter  Irving 

The  Psychology  of  Child  Development    .      University  of  Cliicago  Press. 

MacDowell,  Edward 

Historical  and  Critical  Essays A.  P.  Schmidt,  Boston. 

McMuny,  Charles 

Special  Method  in  Reading  in  the  Grades     The  Macmillan  Companj',  New  York. 

McMurry,  Frank 

Elementary  School  Standards World  Book  Company,  Yonkers,  N.  Y. 

How   to    Study    and    Teaching    How    to 

Study Houghton  Mifflin  Company,  Boston. 

Magnusson,  P.  M. 

P.sychology  as  Applied  to  Education     .    .     Silver,  Burdett  &  Comjiany,  Bo.stou. 

Parry,  C.  Hubert  H. 

Evolution  of  the  Art  of  Music D.  Ai)pleton  &  Company,  New  York. 

Partridge,  George  Everett 

Genetic  Philosophy  of  Education      .    .    .      Sturgi.s  &  Walton,  New  York. 

Seashore,  C.  E. 

Psychological  Monographs Psychological   Revii^w  Coini)aiiy,  Prince- 
ton, N.  .1. 
Titchener,  E.  B. 

Primer  of  P.sychology 1    .    .    .     The  Macmillan  Company,  New  York. 

Tyler,  John  M. 

Growth  and  Education Houghton  Miliiiu  Company,  Boston. 

Winship,  A.  E. 

The  Journal  of  Education Boston. 


PART  ONE 

GENERAL  SUGGESTIONS  FOR  INTERMEDIATE 

GRADES 

I.   AIMS   OF   SCHOOL   MUSIC   INSTRUCTION 

The  general  aim  of  education  is  to  train  tiie  child  to  become  a  capable, 
useful,  and  contented  member  of  society.  The  development  of  a  fine  character 
and  of  the  desire  to  be  of  service  to  humanity  are  results  that  lie  uppermost 
in  the  minds  of  the  leaders  of  educational  thought.  Every  school  subject  is 
valued  in  proportion  to  its  contribution  to  these  desirable  ends.  Music,  be- 
cause of  its  powerful  influence  upon  the  very  innermost  recesses  of  our  sub- 
jective life,  because  of  its  wonderfully  stimulating  effect  upon  our  physical, 
mental,  and  spiritual  natures,  and  because  of  its  well-nigh  universalitj'  of 
appeal,  contributes  directly  to  both  of  these  fundamental  purposes  of  edu- 
cation. By  many  of  the  advanced  educators  of  the  present  day,  therefore, 
music,  next  to  the  "three  R's,"  is  considered  the  most  important  subject  in 
the  public  school  curriculum. 

Although  the  beneficent  influences  of  music  study  reach  out  in  numberless 
directions,  it  is  generally  agreed  that  the  primary  aim  of  music  instruction  in 
the  public  schools  should  be  the  development  of  a  lasting  love  for  the  best  in 
music,  and  an  intelligent  appreciation  of  it.  To  achieve  these  desirable  re- 
sults, the  course  in  music  may  be  organized  under  four  separate  though  closely 
related  lines  of  study,  namely.  Music  Appreciation,  Voice  Culture,  Sight 
Reading,  and  Interpretation.  So  interdependent  are  these  several  depart- 
ments of  the  subject  that  a  lesson  in  any  one  of  them  almost  inevitably  nuist 
include  something  of  the  others.  Nevertheless  clarity  of  purpose  on  the  part 
of  the  teacher  will  be  greatly  enhanced  by  having  the  various  aspects  of  h(u- 
work  distinctly  differentiated  in  her  mind  as  she  conducts  her  class  in  its  study 
of  music. 

n.    MUSIC   APPRECIATION 

The  development  of  an  intelligent  appreciation  of  good  music  is  the  com- 
posite result,  first,  of  the  development  of  a  finer  sul)jective  life;  second,  of 
the  de\elopment  of  bases  for  forming  musical  judgments;  and  third,  of  the 
development  of  a  discriminating  taste  as  to  what  constitutes  good  music.  It 
is  only  through  a  wide  acquaintance  with  the  literature  of  music  that  any  one 
or  all  of  these  elements  of  music  appreciation  can  be  acquired. 

T.   M.  Vol.  in-2  'J 


10  TEAC^HEirS  MANUAL 


1.  Choice  of  Material 


The  material  used  in  the  daily  lesson  will  naturally  influence  most  strongly 
the  pupil's  attitude  towards  nuisic.  Although  in  the  Aftsociativc  Period  '  a 
certain  amount  of  abstract  drill  upon  musical  problems  is  essential,  all  appli- 
cation of  this  drill  should  be  made  through  music  of  sterling  merit,  music 
that  not  only  meets  the  child's  present  need  for  emotional  expression  l)ut  which 
also  will  remain  in  his  memory  as  one  of  the  choicest  treasures  of  his  school 
years  and  the  foundation  upon  which  his  futiu-e  love  for  music  may  securely 
rest. 

The  material  of  the  Progressive  Music  Series  is  rich  in  beautiful  and  in- 
spired songs:  folk  songs  of  many  lands,  art  songs  of  the  masters  of  a  bygone 
day,  and  songs  expressive  of  modern  thought  and  feeling,  contributed  by 
man^'  of  the  foremost  composers  of  our  time.  Folk  songs,  the  songs  of  a 
people,  have  ever  been  the  surest  criterion  of  tlie  musical  life  of  the  nation. 
These  songs,  indeed,  in  many  cases  have  been  not  only  the  sources  of  inspira- 
tion, but  have  been  used  as  the  basic  material  as  well,  in  the  creation  of  larger 
art  forms  b}^  the  masters.  The  songs  of  the  great  musicians  of  the  past  are  a 
precious  inheritance,  bringing  to  us  in  compact  form  the  same  rich  inspiration 
and  perfection  of  workmanship  that  have  caused  then-  larger  art  works  to 
STU-Adve.  It  is,  tlieTefore,/liislily  iiuportant  that  in  the  develo]mieut 
of  music  appreciation  the  cliildren  should  come  into  contact  with  the  best 
and  most  varied  song  literature  available^  The  love  for  these  songs  will  lead 
surely  to  a  love  for  the  larger  and  more  complex  expressions  of  the  art. 

The  course,  in  addition  to  the  folk  songs  and  art  songs,  presents  a  number 
of  themes  from  the  larger  forms,  notably  from  symphonies  and  operas.  The 
study  of  these  themes  will  develop  the  desire  to  hear,  and  will  help  the  chil- 
dren to  follow  with  interest,  the  complete  works  from  which  they  have  been 
taken. 

In  the  development  of  an  appreciation  of  other  art  forms,  such  as  archi- 
tecture, sculpture,  and  painting,  it  has  been  found  helpful  to  surround  the 
^children  with  the  finest  expressions  of  these  forms.  The  walls  of  the  school- 
rooms are  hung  with  copies  of  masterpieces  of  paintings  and  of  architecture, 
and  vacant  niches  and  corners  are  adorned  with  replicas  of  statuary.  The 
purpose  is  to  keep  constantly  before  the  children  expressions  of  these  art  forms 
more  complex  than  they  are  able  to  draw  or  to  mould  with  their  own  hands. 

'  See  Teacher's  Manual,  \'oluine  III,  page  5. 


GEMOKAJ.  SrciCKSTlONS  11 

The  love  of  the  beautiful  is  thus  enhanced,  even  though  the  process  may  be 
quite  unconscious  in  the  minds  of  tiie  pupils. 

In  like  manner  children  should  be  given  the  privilege  of  hearing  music 
more  complex  than  lies  within  their  ahilitj^  to  perform.  Where  it  is  possible, 
local  artists  should  be  invited  to  sing  or  to  play  for  the  school.  -The  children 
should  also  be  given  the  opportunity  to  listen  to  music  reproduced  by  a  me- 
chanical player  or  by  a  phonograph.  Such  use  of  reproducing  instruments  is 
identical  in  character  and  purpose  with  the  use  of  lithographed  and  engraved 
copies  of  pictorial  art. 

(^The  gaining  of  an  acquaintance  with  musical  literature  through  the  study 
^d  the  singing  of  the  beautiful  songs  found  in  this  cour.se^  together  with 
the  practice  of  listening  to  music  as  described,  are  the  first  steps  in  the 
development  of  nmsic  appreciation. 

2.  The  Development  of  a  Finer  Emotional  Life 

The  artistic  environment  created  by  the  presence  of  pictures  and  statuary 
in  the  school,  and  the  creation  of  a  musical  atmosphere  through  the  choice 
of  good  songs  and  the  study  of  their  artistic  interpretation,  soon  yield  fruit 
in  the  enrichment  that  is  apparent  in  the  lives  of  the  children.  It  is  unques- 
tionable that  the  love  for  the  beautiful  as  expressed  in  vari(jus  art  forms  is  a 
powerful  influence  in  the  refinement  of  taste  and  in  the  moulding  of  char- 
acter. It  is,  indeed,  the  mission  of  art,  and  especially  of  music,  to  develop 
the  finer  and  nobler  emotions.  The  habitual  exercise  of  the  finer  feelings  will 
stimulate  the  desire  and  the  ability  to  think  beautiful  thoughts  and  will  help 
one  to  reject  baser  thoughts  and  emotions.  The  nobler  emotions  of  patriot- 
ism, of  love  for  humanity,  and  of  appreciation  of  nature  find  their  highest 
expression  in  song.  Moreover  there  are  subjective  emotional  states  which 
respond  directly  to  the  appeal  of  abstract  music,  that  is,  music  which  exists 
for  its  own  beauty  alone,  without  calling  up  definite  thoughts  or  emotions 
that  may  be  expressed  in  words.  These  exalted  emotional  states  not  only 
provide  some  of  the  choicest  experiences  of  life,  l)ut  they  may  also  react 
upon  one's  entire  subjective  existence,  stimulating  and  enriching  all  its  finest 
qualities. 

3.  Development  of  Bases  for  Intelligent  Judgment 

In  order,  however,  that  a  lasting  love  for  good  music  and  a  sincere  appre- 
ciation of  it  may  be  assured,  it  is  essential  that  the  attitude  of  the  individual 
towards  music  should  be  more  than  merely  emotional.  All  good  music  shows 
evidences  of  intellectual  treatment  by  the  composer,  as  well  as  emotional 
content.     It   becomes  necessary,  therefore,  in  order  that  the  interest  of  the 


12  TEACHER'S  MANUAL 

music  stsudent  or  of  the  music  listonor  may  be  sustained,  to  develop  intel- 
lectual bases  for  realizing  and  appreciating  the  composer's  skill  in  developing 
his  ideas. 

Musical  ideas  have  definite  outlines  and  interrelations  which  produce 
eflfects  in  the  mind  of  the  trained  listener  that  he  can  definitely  classify.'  The 
maimer  in  which  the  composer  develops  these  ideas  and  weaves  them  into 
larger  artistic  wholes  is  determined  by  his  temperament  and  his  skill.  In 
judging  his  workmanship  we  are  obliged  to  arrive  at  our  conclusions  through 
an  intellectual  analysis  of  the  structure  and  form  in  which  his  conceptions 
are  embodied.  The  methods  by  which  the  composer  elaborates  his  musical 
ideas  are  almost  unlimited  in  their  variety,  as  are  the  forms  in  which  these 
ideas  may  be  cast.  The  fundamental  principles  of  musical  development  are 
as  apparent  in  the  small  songs  of  childhood  as  in  the  largest  masterpieces  of 
musical  art.  By  directing  the  attention  of  the  children  to  the  consideration 
of  the  elements  of  musical  structure  as  found  in  the  songs  of  the  course,  a 
foundation  will  be  laid  for  the  appreciation  of  the  intellectual  element  in  the 
works  of  the  great  masters  of  musical  composition. 

This  consideration  of  the  structural  elements  of  song  was  begun  in  the 
primary  grades  through  the  study  of  phrase  repetition  and  tlirough  the  drill 
upon  motives  and  figures. 

A  brief  musical  idea  may  be  expressed  by  a  motive  or  by  a  figure.  A  motive 
is  the  smallest  group  of  tones  by  which  a  particular  song  or  composition  may 
be  identified.  A  figure  is  a  group  of  tones  which  expresses  a  musical  thought, 
although  too  brief  to  point  to  any  particular  composition.  In  the  study  of 
the  songs  of  Book  One  the  children  have  acquired  an  extensive  vocabulary 
of  motives  and  figures.  In  the  tone  drills  for  Book  Two  these  figures  are  clas- 
sified according  to  their  tonal  characteristics.  Further  addition  to  this  vocab- 
ulary is  made  in  Books  Two  and  Three  by  the  study  of  chromatic  figures,  of 
figures  peculiar  to  the  minor  mode,  and  of  rhythmic  types.  This  study  in- 
cludes practically  all  the  rhythmic  motives  and  figures  common  to  musical 
literature.  Consequently  the  children  who  have  completed  Book  Tliree  will 
be  in  possession  of  an  extensive  vocabulary  of  the  musical  ideas  used  by 
composers  to  express  their  thought. 

'  "The  famous  old  definition  of  a  line  as  a  'succession  of  points'  tallies  so  accurately  with 
that  of  melody  as  a  'succession  of  tones,'  that  it  is  not  only  proper,  but  peculiarly  forceful,  to 
speak  of  melodies  as  tone  lines.  Our  conception  of  a  melody  or  tune,  our  ability  to  recognize 
or  reproduce  it,  depends  far  more  upon  its  undulations,  its  rising,  falling,  or  resting  level,  than 
upon  its  rhythmic  features.  These  movements  trace  a  resonant  hne  before  our  mind's  eye  as 
surely,  though  perhaps  not  as  distinctly,  as  the  pencil  of  the  artist  traces  the  lines  of  an  image 
upon  the  pai)er;  and  the  process  is  going  on  constantly,  from  beginning  to  end,  in  everj'  piece 
of  music.  In  a  portrait  it  describes  the  contours  of  the  face  and  figure  —  in  a  word,  a  Form;  in 
the  musical  eomiiosition  it  fulfills,  to  a  great  extent,  the  selfsame  mission,  that  of  defining  the 
Form."  —  "Lessons  in  Music  Form,"  Percy  Goetschius. 


GENERAL  SUGGESTIONS  13 

Having  command  of  such  a  vocahulary,  which  involves  tlio  ability  to 
tliink  and  to  express  thought  in  tones,  it  will  be  interesting  to  the  children  to 
observe  how  the  song  is  composed  of  these  same  tone-patterns  woven  into  a 
complete  artistic  whole.  The  study  of  music  form,  begun  in  the  lower  grades 
through  the  observation  of  repetitions  of  figures,  motives,  and  i)hrases,  is 
continued  and  developed  in  the  study  of  the  songs  of  liook  Two.  The  more 
common  devices  for  the  elaboration  of  figures,  motives,  and  phrases  are  given 
in  Manual,  Volume  III.    (See  page  87.) 

4.  Feeling  for  Tonality  and  for  Harmonic  Content. 

When  music  was  in  its  infancy  and  was  still  a  crude  art,  it  was  deficient 
in  the  elements  of  organization.  The  ideas  themselves  lacked  the  definite- 
ness  and  character  necessary  to  make  them  easily  recognizable;  there  were 
no  traditional  forms  or  established  means  and  devices  for  weaving  the  ideas 
together;  and,  finally,  tones  lacked  that  coherence  and  interrclationsliip  which 
we  have  come  to  call  "mode"  or  "tonality."  The  grouping  of  tones  in  modes 
and  in  keys  has  been  a  process  of  gradual  evolution.  The  modern  ear  demands 
that  musical  ideas  be  expressed  in  these  established  modes  or  it  is  offended. 
The  untrained  ear  responds  to  tonality  almost  instinctively;  the  trained  ear, 
however,  is  able  to  follow  wdth  definiteness  variations  in  mode  and  in  key. 
The  training  of  the  ear  to  discriminate  between  key-relations  adds  materially 
to  the  capacity  of  the  individual  for  the  intellectual  enjoyment  of  music. 

Tonality  is  determined  by  the  pitch  relations  and  the  grouping  of  the  tones 
in  the  melody,  and  by  the  harmonic  element  that  is  expressed  or  implied.  In 
modem  music  we  have,  for  instance,  two  principal  modes,  the  major  and  the 
minor.  These  may  be  concisely  expressed  by  the  major  scale,  consisting  of 
eight  tones  from  do  to  do  in  a  definite  relationship,  and  by  its  major  tonic 
chord,  do-mi-so;  or  by  the  minor  scale  of  eight  tones  from  la  to  la  in  other 
relationships,  and  by  its  minor  tonic  chord,  la-do-mi. 

A-  definite  feeling  for  tonality  is  established  in  the  nainds  of  the  children 
early  in  the  course  tlirough  the  study  of  songs  in  which  the  major  tonic  chord, 
do-mi-so,  is  prominent.  The  study  of  a  number  of  songs  in  the  minor  mode, 
which  have  been  included  in  Book  One,  leads  to  an  appreciation  of  the  minor 
effect,  as  such,  and  to  the  ability  to  distinguish  it  from  the  major  effect,  as 
such. 

In  Book  Two  this  ability  to  distinguish  major  and  minor  effects  is  further 
developed  by  continued  study  of  many  songs  in  both  modes,  with  chapters 
devoted  specifically  to  the  study  of  minor  keys. 

In  Book  Three  a  more  definite  analysis  of  mode  and  key  is  presented. 
The  progressions  of  the  tones  in  the  major  scale  are  found,  by  analysis,  to 
consist  of  whole  and  half  steps  in  a  fixed  relationship;    thus  a  definite 


14  TEACHER'S  MANUAL 

concept  of  the  major  key  is  established.  All  of  the  major  scales  are  con- 
structed by  the  children  following  the  given  formula  which  they  have  been 
led  to  discover. 

The  same  analysis  and  constructive  exercise  is  applied  in  the  study  of 
the  minor  scale  and  in  the  building  of  all  of  the  minor  scales  after  the  given 
formula. 

In  Chapters  V  and  XVI  of  Book  Three,  the  subject  of  modulating  from 
one  key  into  another  is  treated.  Special  drill  in  modulation  is  given  in  the 
tone  drills  of  these  chapters,  and  this  drill  is  applied  in  the  study  of  the 
songs  wliich  follow.  The  teacher  will  observe  that  where  key  changes  occur 
in  the  songs  they  are  indicated  by  letters  above  the  staff,  a  capital  letter 
being  used  to  designate  a  major  key  and  a  small  letter  to  designate  a 
minor  kej'. 

The  feeling  for  tonality  and  harmonic  content  is  also  definitely  developed 
through  the  study  of  part  songs.  Two-part  singing  is  begun  in  Book  Two 
(Chapter  IX)  and  three-part  singing  in  Book  Three  (Chapter  VIII).  When 
it  is  possible  to  have  the  children  sing  the  songs  with  the  accompaniments 
provided  in  the  Manuals,  there  will  be  still  further  opportunity  to  develop 
the  feeling  for  the  elements  of  mode,  tonality,  and  harmonic  content  as 
expressed  by  the  piano  part. 

The  true  appreciation  of  the  intellectual  elements  of  a  great  musical  work 
involves  the  power  to  realize  its  contrasts  in  tonality  and  the  ability  to  follow 
its  harmonic  development,  as  well  as  the  capacity  to  grasp  intelligently  its 
architectural  proportions. 

5.  Judgment  from  the  Standpoint  of  Style 

There  is  still  another  standpoint  from  which  the  composer's  work  may  be 
judged,  that  is,  the  standpoint  of  style.  The  style  of  the  composer  is  influenced 
by  three  considerations:  first,  by  the  epoch  in  which  he  lived;  second,  by  his 
national  and  social  environment;  and  third,  by  his  own  individuality  or 
temperament. 

The  style  of  a  composer  naturally  is  influenced  by  the  works  of  those  who 
preceded  him.  The  art  of  Beethoven,  for  example,  was  the  direct  outgrowth 
of  the  works  of  his  great  predecessors,  Bach,  Haydn,  and  Mozart,  although  he 
extended  infinitely  the  boundaries  of  musical  expression  as  developed  by  them. 
Wagner's  art  was  all-inclusive  and  shows  the  influence  not  only  of  the  com- 
posers who  preceded  him  but  also  of  the  masters  of  the  other  arts.  A  knowledge 
of  the  history  of  music  and  of  the  place  occupied  by  the  composer  in  its  de- 
velopment, will  enable  the  student  to  appreciate  more  fully  the  means  for 
musical  expression  at  the  disposal  of  the  composer,  as  well  as  his  contribution 
to  the  evolution  of  the  art. 


GENERAL  SlCJGESTIOX.s  •  15 

6.  Development  of  Discriminating  Taste 

The  devolopment  of  a  discriniinatiiif-;  taste  for  the  best  in  music  is  the 
ultimate  result  of  a  wide  acquaintance  with  nuisical  literature,  of  the  un- 
folding of  the  finer  emotional  life  stinuilated  thereby,  and  of  the  critical  study 
of  music  for  the  purpose  of  establishing  bases  for  exercising  intelligent  judg- 
ment. 

This  taste  will  eiiable  the  student  to  discriminate  between  that  which  is 
worthy  and  that  which  is  unworthy.  The  apijlication  of  the  standards  which 
have  been  discusscil  will  likewise  help  him  to  discover  whether  or  not  the 
treatment  of  the  subject  by  the  composer  has  been  adequate.  The  songs  of 
this  course,  studied  according  to  the  outlines  given  in  this  Manual,  will  pro- 
vide the  children  with  a  foundation  for  determining  the  worthiness  of  a  theme 
and  the  adequacy  or  effectiveness  of  its  treatment.  The  cultivation  of  a  dis- 
criminating taste  will  assure  a  lasting  love  for  and  an  intelligent  appreciation 
of  the  best  in  music. 


16  TEACHER'S  MANUAL 

III.   VOICE   CULTURE 
1.  Tone  Quality 

The  study  of  music  in  the  public  schools,  as  conducted  at  present,  consists 
in  large  part  of  singing  by  the  children.  It  is  important  therefore  that  the 
teacher  should  have  some  knowledge  of  the  child  voice,  its  care  and  develop- 
ment. 

In  introducing  the  subject  of  voice  culture  it  is  not  intended  that  the 
term  shall  include  all  of  the  phases  usually  emphasized  by  trainers  of  boy 
choirs  or  by  private  teachers  of  singing.  The  object  is  to  preserve  rather  than 
to  exploit  the  child  voice.  The  teacher  should  exercise  constant  vigilance  in 
insisting  that  the  tone  shall  be  free  from  strain  and  that  the  quaUty  shall  al- 
ways be  light  and  sweet.  When  misuse  of  the  voice  is  discovered,  the  teacher 
should  at  once  endeavor  to  find  the  cause  and  to  correct  the  fault. 

The  characteristic  qualities  of  the  unspoiled  child  voice  are  its  lightness, 
sweetness,  and  flexibility.  It  is  natural  that  this  should  be  so.  The  vocal 
organs  of  the  child  are  small  and  dehcate  as  compared  with  those  of  the 
adult.  Any  forcing  of  this  delicate  mechanism  in  order  to  obtain  great  volume 
or  a  piercing  quality  of  tone,  is  sure  to  cause  strain  and  will  in  many  cases 
result  in  irreparable  injury.  Small,  delicate  instruments  in  their  nature  pro- 
duce tones  of  high  pitch  and  of  delicate  quality.  Consequently  the  child  voice 
is  best  adapted  for  the  production  of  tones  in  the  soprano  range,  and  these 
should  always  be  sung  lightly,  with  little  breath  pressure.  The  use  of  coarse, 
reedy  tones  is  positively  harmful  to  the  voices  of  young  cliildren.' 

In  the  realization  of  good  tone  quality  the  first  appeal  to  the  children  should 
consist  in  bringing  out  the  instinctive  love  for  the  beautiful  by  kindhng  the 
imagination,  and  by  having  the  children  endeavor  to  express  the  poetical  and 
musical  mood  of  the  song.  The  imaginative  interpretation  of  the  quiet,  re- 
laxed mood  of  the  lullaby,  for  instance,  is  more  apt  to  bring  about  the  desired 
result  immediately,  than  is  the  use  of  mechanical  devices. 

Joy  and  happiness  expressed  in  the  singing  may  serve  to  relax  the  muscles 
of  the  throat;  carried  to  the  extreme  of  boisterousness,  however,  contraction 
and  strain  are  likely  to  result.  On  the  other  hand,  the  teacher  should  be  care- 
ful not  habitually  to  "hush"  the  children,  as  this  practice  is  apt  to  suppress 
the  expression  of  the  emotional  element  of  the  song,  and  to  deprive  the  singing 
of  all  vitality.  So-called  "soft  singing"  may  be  only  a  little  less  harmful  than 
loud  singing.  A  breathy,  hushed,  stifled  tone  is  not  pleasing  to  the  listener, 
nor  satisfying  to  the  singer,  and  it  is  not  at  all  an  indication  of  good  tone 
production. 

'  See  Dawson,  "The  Voice  of  the  Boj',"  and  Rix,  "Voice  Training  in  the  Public  Schools.'" 


GENERAL  SUGGESTIONS  17 

In  the  case  of  many  children  this  appeal  to  tlie  imagination  will  ix'  all 

that  is  needed  to  secure  a  pleasing  tone.    The  expressive  interpretation  of  the 

text  will  involve  a  consideration  for  the  proper  rendition  of  a  phrase  upon  a 

single  breath.    The  necessity  of  thus  connecting  words  which  belong  together 

in  order  to  express  meaning,  or  of  sustaining  groups  of  tones  which  obviously 

are  parts  of  the  same  musical  idea,  will  soon  become  apparent  to  a  majority 

of  the  children.    The  nature  of  the  text,  too,  will  frequently  suggest  the  idea 

of  "legato,"  i.  e.,  of  the  even  and  sustained  flow  of  the  words  throughout  the 

phrase,  without  the  effect  of  "choppiness."    In  order  to  accomplish  this  in  an 

artistic  manner  it  may  be  necessary  to  have  the  children  sing  the  phrase 

slowly,  carefully  sustaining  and  connecting  the  vowels  of  the  entire  phrase. 

(as  if  it  were  one  long  word)  and  articulating  the  consonants  quickly  and  with 

a  decisive  action  of  the  lips,  tongue,  or  palate.    The  rapid  articulation  of  the 

consonants  must  be  effected  without  additional  breath  pressure,  as  this  would 

result  in  an  accent  on  the  following  vowel  and  a  consequent  unevenness  in 

the  phrase. 

2.  Breath  Control 

The  attempt  to  sing  a  long  phrase  sustained  on  a  single  breath  will  prob- 
ably disclose  to  the  children  the  fact  that  sometimes  the  breath  is  exliausted 
before  the  end  of  the  phrase  has  been  reached.  This  is  an  excellent  point  at 
which  to  explain  to  them  that  the  breathing  muscles,  like  the  other  muscles 
of  the  body,  may  be  trained,  through  exercise,  to  grow  stronger  and  more  ca- 
pable of  performing  the  tasks  assigned  to  them.  The  teacher  should  explain  the 
necessity  of  sitting  in  an  erect  yet  relaxed  position,  with  the  upper  chest  well 
elevated.  When  this  is  the  case,  the  rib-raising  muscles  and  the  diaphragm 
will  perform  their  functions  naturally  and  easily,  therefore  nothing  need  be 
said  to  the  children  about  the  details  of  the  breathing  apparatus,  or  its  me- 
chanical operation.  All  that  is  essential  is  that  they  be  asked  to  .sit  erect  and 
occasionally  to  take  a  deep  breath,  as  if  smelling  a  sweet  odor  or  perfume. 
Practice  may  also  be  given  in  the  management  of  the  slow  emission  of  the 
breath,  as  in  a  prolonged  "z"  or  a  gentle  "sh." 

3.  Vowels 

Many  children,  in  learning  the  language,  have  not  acquired  habits  of  cor- 
rect vowel  enunciation.  In  some  cases  this  may  be  due  to  carelessness;  in 
other  cases  it  may  be  due  to  the  influence  of  a  foreign  mother-tongue;  in  still 
other  cases  correct  vowel  enunciation  may  be  impossible  by  reason  of 
defects  in  the  articulating  mechanism. 

In  the  case  of  normal  children  with  defective  enunciation,  it  is  necessary 
for  the  sake  of  the  correct  use  of  the  singing  voice,  as  well  as  of  the  speaking 
voice,  that  exercises  be  practiced  in  correct  vowel  enunciation.    For  purjioses 


18  TEACHER'S  MANUAL 

of  drill  the  vowels  should  be  classified  aooordiiig;  to  the  manner  of  execution. 
Beginning  with  the  w^ord  "me,"  which  should  be  sung  with  slightly  smiling 
expression,  the  children  should  practice  singing  the  words  "me,"  "may," 
"ma"  (as  in  man),  and  "mah"  (as  in  mamma).  To  effect  these  changes  in 
the  vowel  sounds  it  is  only  necessary  gradually  to  flatten  the  tongue  and  slightly 
to  drop  or  relax  the  jaw.  The  tip  of  the  tongue  should  rest  gently  against  the 
lower  teeth  for  all  vowels.  In  a  similar  manner  the  children  may  practice 
singing  the  syllables  "moo"  (as  in  moon),  "moh"  (as  in  moan),  and  "maw"  (as 
in  maul).  The  change  here  is  effected  by  the  gradual  rounding  of  the  lips  to 
an  oval  shape  as  expressed  by  the  shape  of  the  printed  letter  "0." 

4.  Diphthongs 

The  singing  of  diphthongs  as  they  occur  in  songs,  especially  when  they  fall 
upon  tones  of  more  than  a  beat  in  length,  often  occasions  difficulty,  and  is  fre- 
quently the  cause  of  disagreeable  effects.  This  is  especially  noticeable  when 
a  short  vowel  following  a  long  one  is  unduly  prolonged,  as  in  "mine"  when  sung 
"ma-ee-n,"  or  "joy"  when  sung  "jaw-ee." 

Diphthongs  belong  to  two  classes:  first,  that  of  a  long  vowel  followed  by 
a  short  one,  as  in  long  "i"  or  "y,"  which  is  made  up  of  a  sustained  "ah," 
succeeded  by  and  blended  with  a  very  brief  ee,  as  in  "ice."  Other  examples 
are  "oy"  and  "oi,"  consisting  of  a  long  "aw"  succeeded  by  "ee,"  as  in  "oil"; 
and  "ow,"  consisting  of  a  long  "ah"  followed  by  "oo,"  as  in  "out."  T^e 
second  class  is  that  in  which  a  vowel  of  brief  duration  is  succeeded  by  a  longer 
vowel,  as  in  "ew"  in  the  word  "new";  here  the  initial  "ee"  is  very  nhnrt^ 
succeeded  by  an  "oo"  which  is  sustained  through  the  value  of  the  note.  The ' 
important  thing  to  remember  is  that  the  short  vowels  must  not  be  prolonged. 

5.  Development  of  Smooth,  Even  Quality 

The  vowels  are  the  musical  elements  in  any  language.  Most  of  the  con- 
sonants are  mere  noises  of  different  character  which,  added  to  the  vowels  as 
prefixes  or  suffixes,  serve  to  give  them  meaning.  It  is  in  the  practice  of  the 
vowels,  therefore,  that  tone  quality  must  be  cultivated.  It  is  desirable  that 
the  voice  should  possess  a  smooth,  even  quality  throughout  its  range.  The 
sweet,  limpid  quality  of  tone  which  is  peculiar  to  the  child  voice,  when  rightly 
used,  is  that  which  is  sometimes  designated  as  "the  head  voice."  The  term 
is  correctly  used  because  of  the  fact  that  a  sensation  of  vibration  may  be  felt 
in  the  head  (more  particularly  in  the  bridge  of  the  nose)  when  the  tone  is  cor- 
rectly produced.  This  head  quality  should  be  present  in  all  the  tones  through- 
out the  voice  compass.  It  is,  in  fact,  the  presence  of  these  "over-tones"  or 
sympathetic  vibrations  in  the  resonance  cavities  of  the  head  which  unifies 
the  voice  and  makes  it  of  smooth,  even  quality  throughout.    This  lovely  and 


GENERAL  SUGGESTIONS 


19 


appealing  tone  quality  may  easily  be  attained  if  the  teacher  will  follow  direc- 
tions, and  if  she  be  constantly  on  the  watch  for  manifestations  of  vocal  faults. 
She  should  have  the  children  sing  the  syllable  "me"  or  "moo"  with  a  very 
light  breath  pressure,  beginning  on  upper  E-flat,  first  down  the  tonic  chord 
do-so-mi-do  and  then  down  the  scale  to  the  lower  E-flat,  E,  or  F.  When  begin- 
ning on  the  lower  pitches,  she  should  be  careful  that  the  projier  ciuality  is  main- 
tained. With  these  two  vowels  well  established,  she  may  proceed  to  a  similar 
practice  with  the  other  vowels  in  their  order,  being  careful  that  the  quality 
does  not  deteriorate  with  the  changing  j)osition  of  the  vocal  organs.  Similar 
exercises  may  be  applied  to  the  songs  sung  by  the  children.  The  consonant 
"m"  as  a  prefix  to  the  vowels  is  particularly  helpful  in  attaining  a  good  tone 
and  in  keeping  the  throat  muscles  free  and  relaxed. 


6.  Development  of  Flexibility 

Flexibility  of  the  voice  is  best  accomi)lished  through  light,  ((uick  practice. 
The  various  tone  drills  outlined  for  study  in  connection  with  Books  Two  and 
Three  offer  excellent  material  for  this  exercise.  The  following  examples  illus- 
trate this  point: 


p$^^  fPwm 


me  - 

may 

ma  - 

mah 

maw 

moh 

moo- 


moo- 
moh- 
maw- 
mah  - 
ma  -  - 
jiiay  - 
7ne  — 


^F 


^ 


mah- 
ma — 
may- 
me — 

moo  - 

moh 

nioir 


Other  figures  outlined  in  the  tone  drills  may  he  sung  in  a  similar  manner  in 
a  descending  series  of  sequences.  The  order  of  the  vowels  should  be  changed 
frequently  so  as  to  add  an  element  of  novelty  to  the  drill,  and  to  prevent  stereo- 
typed, mechanical  repetition. 


20  TEACHER'S  MANUAL 


7.  Consonants 


T\Tiile  the  beauty  of  the  tone  quahty  is  dependent  upon  the  proper  emis- 
sion of  the  vowel  sounds,  the  distinctness  of  the  pronunciation  of  the  words 
of  a  song  is  dependent  upon  the  clear  articulation  of  the  consonants.  For 
the  same  reasons  that  the  practice  of  vowel  sounds  is  sometimes  advisable, 
it  may  occasionally  be  well  to  practice  initial  and  final  consonants.  Likewise 
combinations  of  double  consonants  may  be  practiced,  as,  for  example,  "bl" 
in  "blow." 

In  the  practice  of  the  consonants,  after  "m"  has  been  used,  it  will  be  wise 
to  follow  with  tip-tongue  consonants.  Later  the  labials  and  then  the  palatal 
consonants  may  be  studied.  As  remarked  before,  the  purpose  of  this  study 
is  to  secure  a  rapid  and  distinct  yet  smooth  articulation  of  the  consonant,  so 
as  to  give  all  the  time  possible  to  the  vowel,  which  embodies  the  musical 
element  of  song. 

Table  of  Consonants 

Labials,  or  Lip  Consonants 

(a)  Formed  between  the  lips:  p  (pour),  h  (bore),  m  (more). 

(6)  Formed  between  the  lower  lip  and  the  upper  teeth :  v  (vale),/  (fail). 

(c)   Lips  rounded  and  the  back  of  the  tongue  raised:    w  (wear),  wh 

(where). 
Dentals 

(a)  The  tip  of  the  tongue  extended  between  the  edges  of  the  front  teeth : 

th  (then),  th  (thin). 
(6)  The  tip  of  the  tongue  touching  the  back  of  the  ujjper  front  teeth: 

t,  d,  n,  I,  r. 

(c)  A  narrow  passage  between  the  blade  of  the  tongue  and  the  back 

of  the  upper  front  teeth:  z,  s. 

(d)  Similar  to  the  foregoing  but  with  the  tip  of  the  tongue  raised :   sh 

(shall),  zh  (pleasure),  ch  (chop),  j  (jet). 
Palatals 

(a)  Formed  by  raising  the  middle  of  the  tongue  toward  the  hard 

palate:  y  (yet). 
(6)  Similar  to  the  foregoing,  but  with  the  tip  of  the  tongue  raised 
(sometimes  rolled) :  r. 
Gutturals 

(a)  The  back  of  the  tongue  raised  toward  the  soft  palate:    g  (go),  k 
(kick),  ng  (sing). 
Aspirate 

(a)  Formed  near  the  glottis:  h  (hate). 


GENERAL  SUGCiESTlUNS  21 

8.  Part  Singing 

The  practice  of  part  singing  sometimes  tends  to  affect  the  tone  quality  of 
the  children,  as  there  is  a  temptation  for  one  part  to  outcry  the  other  —  a 
tendency  against  which  the  careful  teacher  will  be  constantly  on  guard. 
Also  in  some  schools  the  pupils  are  gi\en  permanent  assignments  to  the 
upper  or  lower  part,  and  thereafter  sing  in  a  restricted  voice  compass,  some- 
times to  the  detriment  of  their  voices.  In  order  that  the  range  of  the  voice 
may  be  kept  as  elastic  as  possible,  a  number  of  unison  songs  have  been  in- 
cluded in  the  upper  books  of  the  course.  These  unison  songs,  through  their 
melodic  appeal,  serve  also  to  stinmlate  and  to  sustain  the  interest  of  the  chil- 
dren, especiallj'  of  the  older  boys.  When  part  singing  is  introduced,  the 
teacher  will  need  to  exercise  considerable  judgment  in  the  division  of  the  class 
and  in  the  assignment  of  the  parts.  It  is  highly  desirable  that  all  the  children 
be  trained  to  carry  both  the  upper  and  lower  parts.  Such  training  develops 
individual  independence,  strengthens  the  power  of  concentrated  tone  thinking, 
provides  a  foundation  for  the  appreciation  of  the  harmonic  element  in  music, 
and  serves  to  develop  the  child  voice,  which  is  frequently  impaired  by  con- 
stant singing  of  the  alto  part,  or  becomes  thin  and  piercing  because  of  constant 
use  of  the  upper  tones  only. 

In  order  that  the  singing  of  the  lower  part  may  not  injuriously  affect  the 
soprano  voices,  the  part  songs  in  Progressive  Music  Series  Books  Two  antl 
Three  are  arranged  so  that  the  lower  parts  have  very  few  deep  tones,  and 
may  properly  be  designated  as  second  and  third  soprano  parts  rather  than  as 
alto.  -Nevertheless  there  are  voices  which  because  of  their  extremely  light 
texture  or  because  of  their  depth  and  unwieldiness  are  not  suited  to  such  inter- 
change of  parts.  It  is  necessary  that  the  teacher  should  test  carefully  the  in- 
dividual voices  to  determine  to  which  class  each  child  should  be  assigned: 
those  who  may  safely  sing  any  part,  those  who  should  sing  only  the  upper 
parts,  and  those  who  should  be  assigned  permanently  to  the  lower  parts. 
In  three-part  songs  some  children  may  attempt  two  parts,  but  .should  not  un- 
dertake all  three.  These  assignments  should  take  into  con.siderati()n  the 
voice  compass,  the  quality  of  tone,  and  the  age  or  physical  development  of 
the  pupil.  Children  who  cannot  easily  sing  the  highc^r  or  lower  tones  should 
not  be  assigned  to  voice  parts  constantly  beyond  their  range.  A  child  with 
a  light,  delicate  tone  should  seldom  sing  the  lower  part,  and.  conversely,  a 
heavy  voice  should  seldom  attenii)t  the  upper  part.  An  older  boy,  whose 
upper  tones  are  thin  and  whose  lower  tones  are  growing  in  richness,  should 
usually  be  assigned  to  the  lower  part.'  Voice  tests  should  begin  with  the  in- 
troduction of  two-part  singing,  and  should  be  given  thereafter  not  less  than 
'  See  Dawson,  "The  Voice  of  the  Boy." 


22  TEACHER'S    MANUAL 

once  a  year  for  all  children  and  twice  a  year  or  even  oftener  for  children 
about  whose  voices  the  teacher  is  uncertain. 

9.  Hygiene  of  the  Voice 

One  cause  of  the  raucous,  disagreeable  quality  so  often  heard  in  children's 
singing  is  the  habitual  abuse  of  the  vocal  organs  on  the  playground.  Tlie 
teacher  should  frequently  talk  to  the  pupils  on  vocal  hygiene  as  she  does  on 
the  care  of  the  other  organs.  The  possession  of  an  agreeable,  well-modulated 
voice  is  in  itself  a  desirable  asset  in  the  social  and  in  the  business  world.  The 
use  of  the  voice  in  singing  has  a  du"ect  influence  upon  the  speaking  voice. 

The  teacher  should  tell  the  children  about  the  great  singers,  and  suggest 
the  possibility  of  there  being  future  great  artists  in  her  class.  The  establish- 
ment of  ideals  and  ambitions  in  this  direction  is  as  worthy  as  in  other  lines. 
The  opportunity  to  hear  local  or  visiting  artists,  and  the  use  of  the  grapho- 
phone  to  present  the  voices  of  great  vocal  artists  to  the  children,  so  as  to  in- 
culcate these  ideals,  will  prove  of  lasting  value,  and  may  stimulate  the  pupils 
to  exercise  greater  care  in  the  use  of  their  vocal  organs  and  thus  may  help  to 
preserve  the  voices  of  artists  of  the  next  generation. 

IV.     SIGHT   READING 
1.  The  Reading  Process 

What  is  reading?  Music  reading  is  the  art  of  intelligently  interpreting 
musical  thought  from  its  notation.  The  processes  followed  by  the  reader  of 
vocal  music  are  very  similar  to  those  employed  by  the  reader  of  language. 
Intelligent  reading  is  something  more  than  mere  word-calling  or  tone-sounding. 
It  necessarily  implies  that  the  reader  is  familiar  with  the  thought  conveyed  by 
the  printed  symbols,  for  one  cannot  express  with  intelligence  that  which  one 
has  never  experienced,  nor  even  that  with  which  one  is  unfamiliar.  This  i<  j  ust 
as  true  in  the  realm  of  music  thought  as  it  is  in  the  realm  of  language  thought. 

In  language,  thought  is  expressed  by  words  representing  ideas,  by  groups 
of  words,  called  phrases  or  sentences,  and  by  the  organization  of  these  words 
and  sentences  into  larger  thought-wholes.  In  music,  thought  is  expressed 
by  motives  and  figures,  representing  musical  ideas,  by  the  combination  of  these 
into  phrases  (song  sentences),  and  by  the  organization  of  these  phrases  into 
larger  wholes.  Before  one  can  intelligently  grasp  and  interpret  the  language 
thought  from  the  printed  page  one  must  have  become  familiar  with  the  voca- 
bulary, with  its  idioms,  and  with  its  common  usage.  In  music  the  same 
premise  holds  true.  To  read  music  intelligently,  which  means  to  grasp  and  to 
appreciate  the  musical  thought,  one  must  be  familiar  with  the  common  voca- 
bulary of  music,  with  its  idioms,  and  with  its  common  tjrpes  of  expression. 


GENERAI.  SlHHilCSTIONS  23 

Music  thought,  when  expressed  in  melody,  is  composed  of  two  elements, 
the  tonal  and  the  rhj'tlniiic.  The  combination  into  groups  of  tones  possessing 
familiar  pitch-relations  gives  the  melody  outline,  shape,  character;  the  in- 
fusion of  the  rhythmic  element  into  this  group  quickens  it  with  life,  action, 
vitality.  In  order  to  follow  melody  in  its  printed  form,  a  knowledge  of  a  third 
element  is  necessary,  namely,  the  theoretical  element.  This  concerns  itself 
with  the  pitch  relations  expressed  by  the  staff,  and  with  the  various  charac- 
ters used  to  denote  time  values,  rate  of  speed,  volume  of  tone,  and  mood 
implied. 

Music  reading,  then,  presupposes,  first,  the  command  of  a  music  vocab- 
ulary composed  of  ideas  represented  by  tonal  and  rhythmic  motives  and  hg- 
ures,  and,  second,  the  habitual  and  fluent  use  of  this  vocabulary  in  music 
thinking.  It  presupposes,  further,  a  knowledge  of  the  theoretical  elements  of 
notation,  the  staff  and  the  notes,  commonly  used  to  express  musical  thought. 
To  perfect  the  command  of  the  vocabulary  and  the  familiarity  with  the  vari- 
ous symbols  used  in  its  written  form,  considerable  exi)ei-ieiico  and  drill  are 
required. 

The  result  desired  is  fluent  and  intelligent  sight  reading,  and  the  means 
for  the  accomplishment  of  this  purpose  find  their  analogy  in  the  methods 
used  to  develop  fluent  language  reading. 

2.  Previous  Experience 

In  the  first  three  grades,  through  their  familiarity  with  the  songs  of  Book 
One  and  through  the  careful  analyses  of  these  songs,  the  children  have  come 
into  possession  of  an  extensive  vocabulary  of  the  more  connnonly  used  musical 
figures.  This  experience,  like  early  language  experience,  has  been  acquired 
largely  through  imitation.  The  children  have  passed  through  the  Sensory 
Period,  a  period  in  wliich  the  powers  of  imitation  and  memory  are  the  chief 
instrumentalities  in  the  learning  process. 

The  children  have  been  taught  to  sing  their  songs,  words  and  music,  by 
rote;  later  they  have  sung  them  with  loo,  and  have  become  conscious  of  the 
element  in  song  structure  known  as  phrase  repetition;  next  the.y  have  been 
taught  by  rote  to  sing  the  so-fa  syllables  to  the  melodies.  Thi-ough  the  us(>  of 
the  syllables  they  have  learned  to  recognize  recurrences  of  the  smaller  groups 
called  motives  and  figures,  and  definitely  to  distinguish  these  from  each  other. 
The  figures  have  been  organized  in  the  minds  of  the  children  according  to  their 
tone  functions,  and  this  organization  is  expressed  in  the  chapter  headings  of 
Book  One. 

Following  this  imitative  and  analytical  experience,  the  children  were  led 
gradually  to  synthetically  recombine  these  familiar  figures  as  they  were 
found  in  new  relations  in  the  songs  of  Part  Two  and  Part  Three  of  Book  One. 


24  TEACHER'S  MANUAL 

In  the  Art  Songs  of  Part  Four  of  Book  One,  and  in  the  additional  songs  of 
Teacher's  Manual,  Volume  I,  the  children  gained  unconscious  experience  with 
practically  all  of  the  musical  elements  outhned  for  study  in  the  higher  books 
of  the  course. 

3.  Development  of  Fluent  Sight  Reading 

In  grade  four  the  children  have  passed  into  a  new  stage  of  development, 
the  Associative  Period.  In  harmony  with  the  fundamental  characteristics  of 
this  period  (see  page  5)  a  new  procedure  is  planned.  The  children  must 
be  taught  in  such  a  way  as  to  become  gradually  independent  of  the  teacher. 
They  must  be  taught  how  to  study,  how  to  attack  the  problems  involved  in 
the  new  song,  how  to  successfully  grasp  its  content,  and  how  to  give  it  effec- 
tive expression. 

The  fundamental  tonal  and  rhythmic  concepts  gained  in  the  first  three 
school  years  are  classified  and  organized  in  Book  Two  as  definite  musical  prob- 
lems for  formal  drill.  Through  this  drill  the  relationship  of  individual  tones 
in  the  scale  is  established.  The  tonal  element  is  given  further  consideration  in 
the  study  of  chromatic  effects  and  of  the  minor  moile.  The  rhythmic  element 
'  is  developed  to  a  consideration  of  the  single  beat  and  its  component  parts. 
The  logical  development  of  the  tonal  and  rhythmic  problems  is  secured 
through  the  topical  organization  of  the  song  material  into  progressive  chapters, 
each  chapter  treating  a  definite  problem,  and  so  arranged  that  the  children 
may  proceed  page  by  page.  The  experiences  gained  in  the  Sensory  Period 
are  related  and  associated  through  drill,  and  the  vocabulary  thus  acquired  is 
organized,  extended,  and  thoroughly  memorized  until  its  use  becomes  auto- 
matic. Fluent,  intelligent  sight  reading  becomes  possible  through  the  ap- 
plication of  this  drill  in  new  songs  composed  of  famiUar  elements  in  new 
relations. 

In  de^'eloping  a  given  musical  problem  in  the  songs  of  Book  Two  four  steps 
are  involved.  (1)  A  familiar  song  embodying  the  problem  is  reviewed.  (2)  The 
problem  is  brought  clearly  to  the  children's  attention.  (3)  The  problem  is 
isolated  from  its  context  and  is  drilled  upon.  (4)  The  mastered  problem  is 
applied  in  reading  new  songs  in  which  it  occurs. 

In  Book  Three  this  procedure  may  profitably  be  varied  because  of  the  expe- 
rience gained  through  the  study  of  Book  Two,  and  the  four  steps  may  be  taken 
in  the  following  order:  (1)  The  children  are  led  to  discover  the  unfamiliar 
problem  through  the  study  of  the  notation  of  the  unfamiliar  song.  (2)  A 
familiar  song  embodying  the  problem  is  sung.  This  step  may  frequently  be 
omitted.  (.3)  The  problem  is  isolated  from  its  context  and  the  children  are 
drilled  upon  it.  (4)  The  mastered  problem  is  appUed  in  reading  new  songs 
in  which  it  occurs. 


GENERAL  SUGGESTIONS  25 

4.  "  The  Three  T's  "  of  Sight  Reading 

As  already  intimated,  such  musical  problems  will  fall  into  three  groups: 
first,  tone  problems;  second,  time  problems;  and  third,  theory  problems. 
These  may  be  termed  "The  Three  T's"  of  music  sight  reading.  While  the 
expert  in  terminology  might  possibly  object  to  the  use  of  the  word  "time," 
for  instance,  to  express  rhythmic  relations,  the  word  is  nevertheless  commonly 
used  by  musicians  in  this  sense;  furthermore,  the  alliteration  embodied  in 
the  expression  may  serve  to  emphasize  the  importance  of  an  equal  considera- 
tion for  the  three  elements  of  music  which  they  represent. 

5.  Use  of  Tone  Drills 

Tone  drills  are  necessary  in  order  to  enable  the  children  to  think  and  to 
express  themselves  readily  in  terms  of  tonal  relationship.  In  the  first  three 
grades  the  children  have  become  familiar  with  tonic-chord  figures,  with  tones 
of  the  tonic  chord  and  their  active  neighbors,  with  two-,  three-,  and  four-tone 
scale  figures,  ascending  and  descending,  and  with  intervals  of  thirds,  fourths, 
and  fifths,  both  ascending  and  descending.' 

Through  Book  Two  these  figures  are  extended  by  making  new  combinations 
of  derivatives,  by  completing  all  the  figures  in  sequence  studies  throughout 
the  scale,  and  by  the  addition  of  chromatic  figures  and  figures  peculiar  to  the 
minor  mode.  These  tone  drills  are  presented  in  detail  in  connection  with  the 
chapters  embodying  new  tonal  problems.  All  tone  drills  should  involve,  first, 
the  training  of  the  ear,  and.laier  a  correlation  of  the  effect  as  distinguished  by 
the  ear  wirtWhe  printed  effect  as  seen  by  the  eye,  through  visualization  drills, 
which  should  be  conducted  from  the  blackboard  and  from  the  book.  Detailed 
directions  for  conducting  these  drills  are  given  in  the  Chapter  Outlines.  (See 
page  49  for  a  summary  of  tone  topics  in  Books  Two  and  Three.) 

6.  Use  of  Time  Drills 

The  use  of  time  drills,  or  the  training  of  the  ear  to  distinguish  between 
rhythmic  ideas,  really  begins  with  the  work  outlined  for  grade  four.  In  the 
first  three  grades  we  have  relied  upon  the  instinctive  rhythmic  nature  of  the 
child,  upon  the  power  of  imitation,  and  upon  the  rhythmic  swing  suggested 
by  the  lilt  of  the  text.  To  arrive  at  the  rhythm  of  a  new  song,  the  children, 
with  the  guidance  and  help  of  the  teacher,  have  been  accustomed  to  scan  the 
poem  before  attempting  to  read  the  melody.  The  development  of  a  feeling  for 
the  larger  phrase  rhythms  has  been  the  fundamental  object  here.  Rhythmic 
appeal  has  been  addressed  chiefly  to  the  senses  and  not  to  the  intellect. 

In  grade  four  a  more  detailed  study  of  rhythmic  effects  is  given.  Phraije 
'  See  Teacher's  Manual,  Vol.  I,  pages  70-73. 

T.  M.  Vol.  iii-n 


26  TEACHER'S  MANUAL 

groups  are  found  by  analysis  to  be  composed  of  measure  groups,  and  these  of 
accented  and  unaccented  beat  groups.  (Certain  rhythmic  groups  invoh'e  a 
combination  of  two  beats,  as,  for  example,  the  dotted-quarter  and  eighth 
notes.)  The  child  is  led  to  study  the  beat  rhythms,  which  are  then  combined 
into  measure  forms  for  drill  and  application  in  sight  reading. 

Time  drills,  like  the  tone  drills,  should  involve,  first,  the  training  of  the  ear, 
and  later,  a  correlation  of  the  effect  as  distinguished  by  the  ear  with  the  printed 
efTect  as  seen  by  the  eye,  through  visualization  drills.  DetaUed  directions  for 
presenting  and  conducting  these  drills  will  be  found  in  the  Chapter  Outlines. 
(See  page  52  for  a  sumnaary  of  time  topics  given  in  Books  Two  and  Three.) 

7.  Use  of  Theory  Drills 

Theory  drills  are  necessary  in  order  to  fix  in  the  child's  memory  the  forms 
and  meanings  of  the  various  signs  used  in  printed  or  written  music.  The  object 
of  these  drills  is  to  make  the  response  to  musical  symbols  as  nearly  automatic 
as  possible.  The  drills  are  intended  to  familiarize  the  children  with  the  staff, 
clef,  key  and  time  signatures,  various  shapes  of  notes  and  rests,  etc.  They 
should  be  conducted  from  the  blackboard  and  from  the  book,  by  finding  and 
explaining  the  signs  and  marks  as  they  occur  in  the  songs.  Written  practice 
may  be  given  in  making  the  different  signs  and  characters  of  music  notation, 
in  copying  music  or  writing  from  dictation,  in  making  skeleton  diagrams  of 
the  structure  and  form  of  the  songs,  and,  in  the  sixth  and  seventh  grades,  in 
scale  building.  Drill  in  the  use  of  the  piano  keyboard  diagram,  as  found  in 
the  inside  back  cover  of  the  book,  is  suggested  in  the  Chapter  Outlines. 

8.  The  Synthetic  Application  of  "  The  Three  T's  " 

Since  the  gathering  of  the  thought  from  the  printed  page  involves  the  si- 
multaneous combination  of  tone,  time,  and  theory,  the  importance  of  thorough 
drill  upon  these  three  elements  will  be  obvious  to  the  experienced  teacher. 
Such  drills  are  also  useful  in  training  the  child  in  logical  habits  of  study. 

In  developing  fluent  and  accurate  sight  reading  the  use  of  the  so-fa  .s>lla- 
bles  is  helpful.  At  the  same  time  care  should  be  exercised  that  tliis  use  is  not 
overdone,  because  it  is  possible  so  to  accustom  the  children  to  dependence  upon 
syllables  that  they  are  lost  without  them.  It  is  important,  therefore,  that  from 
the  beginning  of  the  work  in  Book  Two  the  children  should  gradually  learn  to 
think  tones  in  their  relationship  to  each  other,  independent  of  syllables.  To 
this  end  it  is  recommended  that  while  studying  Part  One  of  Book  Two,  the 
songs  should  be  read  according  to  the  following  tliree  steps: 

First  Step:  Singing  with  the  syllables. 
Second  Step:  Singing  with  loo. 
Third  Step:  Singing  with  the  words. 


GENERAL  SUGGESTIONS  27 

Occasionally  the  omission  of  the  first  step  is  advisable,  although  this  shoulcl 
not  be  done  unless  the  children  are  reasonably  sure  to  sing  correctly.  There  is 
no  necessity  for  hastening  the  disuse  of  the  syllables.  Neither  should  the  songs 
be  sung  so  many  times  by  syllables  that  when  sung  with  loo  the  children  will 
be  merely  recalling  the  oft-repeated  melody.  The  children  should  be  trained 
when  singing  with  loo  to  be  actually  following  the  notes  and  not  singing  the 
melody  from  memory.  The  same  is  true  of  the  words.  While  it  is  difficult  to 
look  at  both  words  and  music  at  the  same  time,  the  preferable  practice  is  to 
read  the  words  often  enough  to  make  it  possible  to  give  them  less  attention 
rather  than  to  sing  the  melody  so  often  that  the  childi-en  need  not  follow  the 
notes  while  reading  the  words. 

Beginning  with  Part  Two  of  Book  Two,  it  is  advised  that  the  sight  reading 
should  be  according  to  the  following  three  steps: 
First  Step:  Singing  with  loo. 
Second  Step:  Singing  with  the  syllables. 
Third  Step:  Hinging  with  the  words. 

Do  not  continue  unavailmg  efforts  to  get  the  right  tones  with  loo:  if  the 
melody  is  not  sufficiently  clear  for  the  children  to  sing  with  assurance,  use  the 
syllables  and  then  try  again  with  loo.  A  careful  studj^  of  the  song  should  be 
made  by  the  cliildren  before  attempting  to  sing  it  with  a  neutral  syllable. 
The  object  desired  is  not  a  guessing  at  tones  but  a  real  training  in  tone  think- 
ing, and  the  children  must  have  the  correct  mental  basis  for  judging  the  char- 
acter of  the  coming  tone  group  before  attacking  the  sight  reading  of  the  song 
with  loo.  The  tone  drills  should  provide  such  a  basis  and  if  the  children  are 
merely  guessing  while  sight  reading  with  loo,  they  thereby  give  evidence  that 
more  careful  review  of  previous  tone  drills  is  necessary. 

Beginning  with  Book  Thi'ee,  the  three  steps  should  be  taken  in  the  fol- 
lowing order: 

First  Step:  Singing  the  song  with  the  words. 
Second  Step:  Singing  the  song  with  loo. 
Third  Step:  Singing  the  song  by  syllables. 

Before  singing  with  the  words  a  careful  analytical  study  of  the  song  and 
its  problems  should  be  made,  the  words  should  be  read,  antl,  if  necessary, 
studied.  In  many  cases  it  may  be  necessary  to  read  the  words  several  times  so 
that  when  the  song  is  sung  the  chief  concentration  may  be  placed  upon  the 
notes  of  the  songs.  If  the  sight  reading  with  words  is  not  done  with  comparative 
readiness,  or  if  it  seems  that  the  children  are  lost  in  the  difficulties  of  the  song 
when  attempting  them  with  words,  try  the  song  with  loo  or  try  at  least  the  dif- 
ficult phrases  with  loo.  If  this  study  does  not  accomplish  the  result  of  enabling 
the  childi-eu  to  sing  the  song  with  the  words  then  take  the  difficult  places  by 
syllables. 


28  TEACHER'S  MANUAL 

The  point  at  which  these  studies  are  aiminp;  Is  to  enable  children  to  sing 
new  music  at  sight  with  words.  When  the  children  show  themselves  able  to 
do  this  with  comparative  readiness,  the  third  step,  namely,  singing  by  sylla- 
bles, may  be  omitted.  Eventually  it  may  be  found  possible  to  omit  the  sec- 
oud  step,  tlioug'h  in  future  sitiht  vondiiiu'  the  knowledge  of  sylbiblcs 
will  often  be  of  aid  in  ovei-coniini;'  (lifficulties. 

Having  acquired  an  adequate  vocabulary  and  a  fluency  in  its  use,  it  then 
remains  for  the  children  to  develop  ready  power  to  analyze  the  printed  page, 
so  as  to  arrive  at  the  ideas  expressed  in  the  song,  and  to  grasp  the  structure  or 
form  in  which  these  ideas  are  embodied.  Such  an  analysis  leads  not  only  to 
fluent  sight  reading,  but  is  an  aid  to  easy  memorization.  The  power  to  mem- 
orize is  essential,  because  it  transforms  the  fleeting  impression  into  a  lasting 
one.  It  is  not  so  much  what  we  learn  that  benefits  us  as  what  we  remember. 
The  more  musical  experiences  established  in  the  minds  of  the  children,  the 
more  lasting  will  become  their  love  for  good  music,  which  leads  again  to  the 
fundamental  aim  of  school  music  instruction,  the  lasting  love  for  and  the 
intelligent  appreciation  of  the  best  in  music. 

V.    INTERPRETATION 

Music  is  sometimes  called  the  "universal  language"  or  the  "language  of 
the  soul."  This  phrase  truly  states  the  great  purpose  of  music,  for,  better 
than  any  other  medium,  music  gives  expression  to  the  inner  subjective  life. 
Through  music,  great  souls  have  given  expression  to  the  deepest  universal 
emotions,  and  even  the  simplest  songs  may  often  touch  an  inner  chord  which 
responds  to  no  other  stimulus.  The  performer  must  bring  to  the  interpretation 
of  a  musical  work  not  only  the  technical  ability  to  carry  out  in  detail  the  ex- 
pressed wishes  of  the  composer,  but  he  must  also  bring  to  the  performance  a 
reahzation  of  the  emotional  state  which  brought  the  music  into  existence. 

It  follows,  therefore,  that  in  the  proper  interpretation  of  a  song,  two  ele- 
ments must  be  observed  for  guidance,  namely,  the  mechanical  and  the  emo- 
tional. The  composer  is  enabled  through  the  use  of  certain  words  and  signs  to 
indicate  the  mechanical  elements  of  interpretation.  These  are  of  four  kinds: 
first,  marks  affecting  the  volume  of  tone;  second,  marks  affecting  the  rate  of 
speed;  third,  marks  affecting  the  mood  expressed;  and  fourth,  marks  aifect- 
ing  the  style  of  performance. 

The  more  usual  words  and  marks  affecting  the  volume  of  tone  are:  piano 
(p) ;  mezzo  piano  (mp) ;  pianissimo  (pp) ;  forte  (/) ;  mezzo  forte  (mf) ;  fortis- 
simo iff) ;  crescendo  {cres.  or  -==  ) ;  decrescendo  {decresc.  or  = ) ;  di- 
minuendo (dim.  or  ::             ) ;   sforzando  (s/  or  :^- ) . 

Among  the  marks  indicating  the  rate  of  speed  may  be  found  the  following 
Italian  words:    Largo;    Lento;    Adagio;    Andantino;    Andante;    Moderate; 


GENERAL   PTT.CKSTIOXS  29 

Allegretto;  Allegro;  Presto.  These  terms  are  explained  in  the  Glossary,  on 
page  303.  By  the  use  of  Metronome  Marks  also  the  composer  is  enabled  to 
indicate  definitely  the  rate  of  speed  with  which  the  beats  follow  each  other. 
Marks  indicating  a  gradual  increase  or  decrease  in  the  rate  of  speed,  such  as 
"  allargando  "  and  "  ritardando,"  meaning  gradually  slower,  and  "  accellerando," 
meaning  gradually  faster,  and  "a  tempo,"  meaning  to  resume  the  original 
rate  of  speed,  will  also  be  found  in  frequent  u.sc. 

There  are  many  words  and  marks  indicating  the  mood  to  be  expressed. 
These  frequently  qualify  the  speed  words,  as,  for  instance,  Allegro  con  spirito, 
which  means  "quickly,  with  spirit,"  or  Allegretto  can  grazia,  which  means 
"somewhat  quickly  and  gracefully."  Italian  w^ords  and  terms  have  generally 
been  employed  to  indicate  expression,  though  the  use  of  words  in  the  vernacular 
of  the  composer  is  met  with  quite  frequently.  The  fact  that  music  is  such  a 
universal  language  is  ample  justification,  however,  for  the  continued  use  of 
the  Italian  terms,  since  ihey  are  understood  by  musicians  throughout  the  world. 
A  list  of  terms  indicathig  expression,  with  their  English  e(iuivalents,  will  be 
found  in  the  Glossary. 

Among  the  words  affecting  the  style  of  performance  are  "legato,"  "stac- 
cato," "sostenuto,"  and  such  marks  as  slurs,  dots,  etc. 

WTiile  the  proper  observ^ance  of  the  mechanical  signs  and  words  is  of  great 
value  in  determining  the  style  and  manner  of  the  interpretation,  the  teacher 
and  the  children  should  be  cautioned  against  a  too  rigid  or  inflexible  consid- 
eration in  appljdng  them. 

This  is  notably  the  case  where  two  or  more  stanzas  of  the  text,  differing 
in  mood,  are  sung  to  the  same  mu.sical  setting.  In  the  "New  Year's  Song," 
on  page  60  of  Book  Three,  for  instance,  the  three  stanzas  are  quite  different 
in  sentiment.  The  class  should  discuss  the  interpretation  of  the  song,  deciding 
where  to  follow  the  signs  as  given,  and  where  to  modify  the  expression  in 
accordance  with  the  text. 

This  leads  to  a  consideration  of  the  emotional  element  as  expressed,  first, 
by  the  text,  and,  second,  by  the  content  and  mood  of  the  music  itself.  The 
teacher  should  lead  the  children  to  study  each  song  text  and  to  tell  the  story 
or  give  the  content  of  the  poem  in  their  own  words.  An  understanding  of 
the  text  will  lead,  in  most  cases,  to  the  correct  feeling  for  proper  volume  of 
tone  and  to  the  approximate  rate  of  speed.  After  such  study  of  the  poem 
the  teacher  should  ask  the  children  to  suggest  the  interpretation.  It  may  be 
noted  that  usually  the  song  as  a  whole  has  an  atmosphere  peculiar  to  itself; 
that  the  separate  stanzas  may  vary  in  the  moods  expressed ;  that  some  phrases 
suggest  moods  all  their  own ;  and,  finally,  that  certain  words  are  more  pregnant 
with  meaning  and  emotion  than  are  others.  It  should  be  the  constant  endeavor 
to  express  these  inner  meanings  with  appropriate  emotional  emphasis. 


30  TEACHEKS  MANUAL 

In  addition  to  the  understanding  of  the  text,  the  feeling  for  tonality  and 
implied  harmonies,  which  is  being  cultivated  in  the  children,  will  help  them  to 
grasp  the  significance  of  the  nmsic  itself.  The  change  from  a  minor  to  a  major 
key,  for  example,  will  usually  suggest  a  brightening  of  the  tone  quahty,  an 
acceleration  of  the  speed,  and  an  increase  in  volume.  The  change  from  major 
to  minor  is  usually  accompanied  by  a  more  somber  tone  quality  and  a  modera- 
tion in  the  rate  of  speed  and  in  the  volume. 

In  conversation  or  in  dramatic  recitation  emotional  excitement  is  uncon- 
sciously expressed  by  hurrying  the  declamation  and  by  raising  the  pitch  of 
the  voice.  In  music  this  may  be  observed  in  the  use  of  notes  of  shorter  dura- 
tion and  in  the  upward-climbing  tendency  of  the  phrases.  Phrases  of  an  as- 
cending character  should  generally  be  sung  with  increasing  volume,  sometimes 
with  a  slight  acceleration  of  the  tempo,  especially  in  the  case  of  repeated 
phrases  on  succeedingly  higher  degrees  of  the  scale.  Sequences  of  descend- 
ing phrases  or  phrases  with  descending  characteristics  should  usually  be 
sung  with  a  slight  decrease  in  the  rate  of  speed  and  in  the  A'olume. 

The  children  should  be  taught  early  how  to  follow  not  only  the  mechanical 
signs,  but  how,  through  an  appreciation  of  the  poetry,  and  thi-ough  an  analy- 
sis of  the  nature  and  tendency  of  the  music  itself,  they  may  arrive  at  the 
most  effective  interpretation  of  the  thought  of  the  poet  and  of  the  composer. 

In  the  Chapter  Outlines  of  this  Manual  copious  directions  and  suggestions 
are  offered  for  the  interpretation  of  the  songs  of  the  course.  These  are  not 
intended  for  the  children,  nor  even  for  the  musically  trained  teacher.  Too 
much  emphasis  cannot  be  placed  upon  the  importance  of  leading  the  children 
to  express  their  own  interpretation  of  the  songs.  Indeed,  this  study  is  one  of 
the  most  vital  elements  in  their  musical  training.  Neither  will  the  professional 
musician  require  these  aids.  But  as  the  music  lesson  must  often  be  directed 
by  the  grade  teacher  who  has  not  had  nuisical  training,  the  interpretative 
suggestions  are  added  for  her  guidance  and  inspu-ation. 

VI.    SPECIAL   TRAINING   OF   LESS   MUSICAL   CHILDREN 

Children  who  have  been  found,  through  individual  tests,  to  be  singing  out 
of  tune,  may  be  divided  into  four  classes.  The  skillful  teacher  will  exercise 
her  ingenuity  in  diagnosing  each  individual  case  and  in  treating  it  according 
to  its  specific  needs. 

First,  there  are  children,  by  no  means  monotones,  who,  through  lack  of 
attention  or  concentration,  are  listless  and  sluggish  in  responding  to  musical 
impressions.  It  is  only  necessary  to  arouse  the  imagination,  the  interest,  and 
the  enthusia.sm  of  such  children  to  secure  that  spontaneous  attention  which 
will  soon  yield  fruitful  results.  Once  genuinely  interested,  these  children  will 
learn  to  sing  well  through  the  mere  doing  of  it. 


GENERAL  SUGGESTIONS  31 

Second,  there  are  those  who  readily  distinguish  between  songs  and  phrases 
but  who  lack  skill  in  reproducing  them.  These  pupils  hear  accurately  but  are 
deficient  in  the  ability  to  reproduce  what  they  hear.  Through  lack  of  prac- 
tice in  the  coordination  of  the  vocal  organs  with  the  musical  idea  in  the  mind, 
through  loud,  harsh  singing  or  abuse  of  the  voice  on  the  playground,  the 
vocal  organs  fail  to  respond  to  the  impulse  of  the  will  to  sing.  These  children 
need  practice  in  the  voluntarj-  control  of  the  voice,  skillfully  directed  and 
assisted  by  the  teacher.  Faults  in  breathing  must  be  corrected,  rigid  throats 
must  be  relaxed,  defective  articulation  must  be  remedied.  Above  all,  the  imagi- 
nation of  the  children  and  the  desire  to  sing  must  be  aroused.  Light,  sweet 
tones  must  be  given  as  models  for  them  to  imitate.  It  is  often  the  case  that 
the  singing  of  a  musical  child  in  the  class  will  be  more  readily  imitated  than 
that  of  the  teacher.  The  chUd  who  is  receiving  incU\idual  help  should  be 
encouraged  to  concentrate  his  attention  upon  the  face  of  the  one  acting  as 
teacher.    A  ro^-ing  eye  is  an  indication  of  wandering  attention. 

Third,  there  are  pupils  who  fail,  in  varAing  degrees,  to  disthiguish  between 
musical  idea;?,  or  who  seem  to  lack  what  we  have  been  accustomed  to  call  a 
''musical  ear."  Two  general  tj^ies  may  be  included  in  this  third  class:  first, 
children  in  whom  the  tonal  sense  is  defective ;  and  second,  those  deficient  in 
rhythmic  sense.    A  thu'd  group  might  include  children  lacking  in  both. 

Some  chilch-en  recognize  certain  songs  and  fail  to  recognize  others.  These 
children  probably  possess  strong  rhythmic  sense,  and  recognize  songs  with 
strongly  marked  accents  or  characteristic  rhji:hms,  but  fail  to  recognize  tunes 
with  a  less  accented  melody.  The.se  children  are  defective  in  pitch  recognition, 
and  in  extreme  cases  sometimes  fail  to  recognize  a  single  song  familiar  to  the 
class,  or  even  to  distmgmsh  between  high  and  low  tones.  Children  deficient 
m  pitch  recognition  require  oft-repeated,  striking,  and  clear-cut  impressions 
of  bits  of  melody.  Pitch  memorj-,  like  memory  in  other  lines,  will  depend 
upon  the  frequency  and  recency  of  these  melody  mipressions.  An  entire 
phrase  will  prove  too  long  for  their  untrained  ears  and  memories  to  retain. 
Each  phrase  must  be  broken  up  into  motives,  or  into  figures  embodjdng  ele- 
mental tonal  relationships  which  are  sharply  defined  and  contrasted. 

Again,  in  other  cases  the  rhj-thmic  instinct  has  not  yet  been  awakened. 
Some  children  have  not  learned  to  march  in  time  to  music  or  to  keep  step 
with  their  niates.  Children  rhj-thmically  deficient  must  have  this  instinct 
aroused  through  marching,  skipping,  clapping,  singing  games,  folk  dancing, 
and  the  like.  The  feeling  for  rhythm,  developed  through  muscular  respon.xe 
from  the  larger  muscles  of  the  body  and  limbs,  will,  in  time,  enable  the  child 
to  control  the  finer  muscles -of  the  vocal  organs. 

Children  lacking  the  "musical  ear"  demand  the  utmost  skill,  patience, 
and  persistence  on  the  part  of  the  teacher.    ^\Tiere  possible,  time  should  be 


32  TEACHER'S  MANUAL 

taken  outside  of  the  regular  music  lesson  in  order  that  the  interests  of  the  class 
may  not  suffer.  Permitting  children  to  sing  out  of  tune  or  time  not  only  mars 
the  class  singing  but  tends  to  confirm  vocal  faults  into  fixed  habits. 

Fourth,  and  finally,  there  is  the  class  of  children  who  are  abnormal  or 
physically  defective  in  the  organs  of  hearing  or  in  the  organs  of  speech  or 
both.  It  is  obvious  that  children  with  deficient  or  imperfect  hearing  should 
be  permanently  seated  in  the  front  seats  near  the  teacher. 

In  most  cases  these  children,  as  well  as  those  suffering  from  defective 
vocal  organs,  should  be  brought  to  the  attention  of  a  medical  specialist. 
The  teacher  may  often  confer  a  lasting  favor  upon  the  child  by  calling  the 
attention  of  his  parents  to  such  defects. 

It  is  of  the  greatest  importance  that  the  teacher  should  realize  these  facts 
concerning  so-called  "monotones,"  and  that  each  case  should  have  a  careful 
diagnosis  and  be  treated  for  its  specific  ailment.  The  fact  that  a  child  does 
not  sing  in  no  wise  proves  it  to  be  unmusical.  It  is  a  well-kno\vn  fact  that 
many  famous  musicians  have  been  unable  to  sing  —  probably  for  no  other 
reason  than  that  they  never  really  attempted  to  sing.  No  one  would  think 
of  terming  such  a  musician  "unmusical."  A  so-called  monotone  may  be  the 
most  musical  child  in  the  class.  Teaching  such  a  child  how  to  sing  should  be 
counted  a  privilege  and  a  duty. 

While  the  correction  of  monotones  should  be  emphasized  in  the  first  three 
grades,  and  while  in  the  higher  grades  it  is  always  more  difficult  to  induce 
children  to  take  an  interest  in  music  if  they  have  not  sung  in  the  earlier  years, 
the  teacher  should  not  relax  her  efforts  to  have  every  child  take  part  in  the 
music  lesson.  When  a  child  does  not  sing,  an  effort  should  be  made  to  de- 
termine the  cause,  which  in  the  upper  grades  may  frequently  be  other  than  an 
inability  to  sing  or  a  distaste  for  music.  Not  infreriuently  boys  arrive  at  a 
stage  of  mental  development  where  they  are  disposed  to  look  upon  singing  as 
unmanly.  This  attitude  may  be  removed  by  a  tactful  discourse  upon  the 
place  of  music  in  life  or  by  inviting  some  male  singer  of  the  community  to 
sing  for  the  school.  Talking  machine  records  may  also  be  used  to  ad\-antage 
in  this  connection.  Boys  who  by  reason  of  slow  mental  development  are  be- 
yond their  classmates  in  years,  and  who  have  reached  the  changing-voice 
period,  should  be  allowed  to  take  theu-  music  lesson  with  the  upper  grades. 

VII.    THE   CONDUCT  OF  THE  MUSIC   RECITATION 

The  efficient  teacher  will  see  to  it  that  in  the  music  lesson,  as  in  other 
subjects,  the  time  devoted  to  the  various  topics  of  the  recitation  is  well  bal- 
anced, and  that  the  lesson  moves  with  a  swing.  Enthusiasm  and  magnetism 
as  well  as  .skill  on  the  part  of  the  teacher  are  essential  in  music  more  than  in 
a,ny  other  subject.    She  must,  however,  control  her  enthusiasm,  or  the  lesson 


(lENERAL  SUr.(;ESTIONS  33 

will  become  entirely  emotional  or  recreational  in  character,  to  the  sacrifice 
and  detriment  of  th(>  intellectual  side  of  the  suljject.  While  the  love  for  <]jood 
music  and  the  enjoyment  of  singing  are  fundamental  aims  of  the  lesson,  these 
will  develop  in  lasting  degree  only  as  children  acquire  intellectual  power  and 
independence. 

It  is  advisable  that  every  music  lesson  begin  with  the  hearty  singing  of  a 
familiar  song,  preferably  one  of  stirring  character.  This  should  be  followed 
by  the  study  of  the  technical  topic  chosen  for  the  day  and  its  application  in 
the  study  of  a  song.  Each  music  lesson  should  be  built  around  a  central 
thought  or  idea.  Both  teacher  and  pupils  should  clearly  understand  what  this 
idea  is,  and  if  possible  it  should  be  mastered  in  the  time  allotted.  The  prac- 
tice of  spending  a  few  moments  daily  ujjon  a  great  number  and  variety  of  topics 
is  apt  to  degenerate  into  an  exhibition  of  agility  rather  than  to  provide  train- 
ing of  lasting  benefit  to  the  children.  Rather  than  this,  it  is  advised  that  the 
teacher  should  apportion  her  woi-k  through  the  week  so  that  each  subject  shall 
have  its  due  share  of  time,  and  so  that  each  lesson  shall  clearly  complete  the 
points  presented.  The  teacher  should  be  cautioned  against  continuing  too 
long  upon  one  topic;  this  is  especially  true  of  abstract  drills.  The  tech- 
nical work  of  the  day  should  be  brought  to  a  conclusion  in  time  to  permit  of 
the  singing  of  one  or  more  familiar  songs. 

Individual  singing  and  recitations  should  be  prominent  both  in  the  drill 
work  and  in  the  study  of  songs.  Written  work  may  be  conducted  diu'ing  the 
individual  recitations.     All  drills  should  be  brisk,  brief,  and  snap]\v. 

The  analysis  of  the  songs  should  be  made  by  the  children  under  the  skill- 
ful guidance  of  the  teacher.  The  analysis  should  first  concern  itself  with  the 
technical  elements  of  the  song;  with  the  tone,  time,  or  theoretical  problems 
involved.  The  teacher  should  avoid  needless  repetition  of  details  which  are 
already  thoroughlj^  understood  by  the  class;  she  should  direct  her  attention 
to  the  less  familiar  elements  involved,  and  proceed  as  quickly  as  possible  to 
the  reading  of  the  song. 

As  previously  intimated,  careful  attention  should  be  given  to  tlie  artistic 
interpretation  of  the  song.  While  the  children  are  to  be  led  to  discover  the 
interpretation  for  themselves,  the  teacher,  nevertheless,  remains  the  true  in- 
tellectual and  spu'itual  leader  of  the  class.  The  singing  of  every  song  should 
be  conducted  by  the  teacher,  and  the  class  should  be  inspired  by  lier  leader- 
ship. She  must  indicate  the  precise  moment  for  the  attack  of  the  first  j^hrase, 
and  through  a  graceful  motion  of  the  hand  keep  the  song  moving  with  e\'en 
rhythmic  flow. 

The  rote  songs  outlined  for  the  Fourth  and  Fifth  Grades  are  to  be  taught 
with  books  in  the  hands  of  the  children.  Portions  of  these  songs  will  be  within 
the  reading  ability  of  the  children,  while  other  portions  will  anticipate  the 


34  TEACHER'S   MAXUAL 

technical  problems  of  the  following  grades.  The  children  should  be  encour- 
aged to  gain  as  much  as  possible  from  the  notation,  reducing  to  a  minimum 
their  dependence  upon  the  voice  of  the  teacher.  The  teacher,  however, 
should  keep  uppermost  the  idea  of  joy  in  learning  these  rote  songs,  rather  than 
the  thought  of  effort  or  of  difficulties  overcome. 

The  voice-training  exercises  should  take  little  time  from  tfie  lesson  itself. 
They  should  rather  be  correlated  with  every  part  of  the  lesson.  Every  tone 
drill,  every  sight  singing  exercise,  every  song  interpretation,  should  at  the 
same  time  become  an  exercise  in  voice  training.  This  holds  good  especially 
after  the  fundamental  principles  have  been  made  clear  to  the  chikh-en. 

Monotones,  cliildren  with  vocal  defects,  and  children  below  grade  should 
be  given  assistance  outside  of  the  regular  music  lesson.  The  time  allotted  to 
music  is  usually  too  short  to  justify  the  expenditure  of  a  considerable  part  of 
it  in  behalf  of  an  unmusical  minority  at  the  expense  of  the  musical  majority. 
It  is  important  that  these  unfortunates  be  given  help  and  encouragement, 
and  the  resourceful  and  interested  teacher  will  find  time  for  them  without 
robbing  the  class  as  a  whole  of  its  opportunities. 

The  same  remarks  might  apply  to  preparations  for  special  occasions. 
While  special  occasions  and  public  performances  have  a  legitimate  place  in 
the  function  of  music  in  the  school,  care  must  be  exercised  that  these  prepara- 
tions do  not  consume  time  at  the  expense  of  the  regular  lesson.  When  possible, 
a  special  occasion  should  be  treated  as  an  "extra,"  and  the  preparation  for 
it  should  be  made  outside  of  the  regular  music  recitation.  Public  perform- 
ances are  sometimes  doubly  interesting  when  they  illustrate  the  regular  music 
work  of  the  classroom,  and  when  the  songs  sung  are  those  learned  in  the  regu- 
lar routine.  By  anticipating  the  coming  event  and  allowing  ample  time  for 
preparation,  a  minimum  of  time  will  be  taken  from  each  lesson  and  the  regu- 
lar music  study  will  be  only  sUghtly  affected.  In  this  way  little  extra  time  is 
required  for  preparation. 

Every  lesson  should  be  a  lesson  in  appreciation.  In  the  section  on 
"Music  Appreciation,"  it  is  shown  how  this  may  be  brought  about  in  the 
study  and  analysis  of  the  songs  of  the  course. 

When  possible,  the  "listening"  lessons,  whether  the  performance  is  by 
visiting  artists  or  by  a  mechanical  player,  should  be  at  times  other  than  the 
regular  music  lesson.  In  larger  buildings,  several  rooms  of  the  same  grade 
and  possibly  several  grades  might  be  assembled  for  this  purpose.  Once  the 
broad  educational  value  of  this  work  is  understood,  there  will  be  little  diffi- 
culty in  devising  plans  and  in  obtaining  an  additional  allotment  of  time  for 
this  purpose. 


PAKT   TWO 
GRADED    OUTLINES 

!.       MOXTIILY    OlTMXES NUMBER    OXE 

The  following  Moiithl}-  Outline  for  Sixth  and  Seventh  Grades  is  arranged 
according  to  the  plan  in  which  Book  Three  of  the  Progressive  Music  Series  is 
used  throvighout  these  two  grades. 

An  Outline  for  completing  Book  Three  in  the  Sixth  and  first  half  of  the 
Seventh  Grade  will  he  found  on  page  41  of  this  Manual.  An  Outline  for  com- 
pleting Book  Tluee  in  Grade  Six  will  be  found  on  page  46.- 


SIXTH    GRADE,    FIRST    MONTH 
I.   DriU 

(a)  Tone  :   Review  of  the  topics  of  Book  Two :   Tone  I'clations  in  the 

diatonic  major  scale ;  sharp  chromatics,  diatonic  half-step 
progressions ;  flat  chromatics,  diatonic  half-step  progres- 
sions ;  the  introduction  of  the  minor  mode  ;  interval  studies 
in  the  diatonic  major  scale ;  two-part  singing ;  tone  rela- 
tions in  the  harmonic  minor  scale  ;  sharp  chromatics,  ski]is 
to  sharps,  resolving  upward,  and  the  whole  step  ascend- 
ing; flat  chromatics,  skips  to  flats,  resolving  downward, 
and  the  whole  step  descending ;  three  tones  ascending 
chromatically  ;   three  tones  descending  chromatically. 

(b)  Time  :    Review  of  the  topics  of  Book  Two  :   The  quarter-note  beat 

—  quarter,  half,  dotted-half ,  and  whole  notes  and  the  cor- 
responding rests  ;  eighth  notes  ;  dotted-quarter  and  eighth 
notes ;  phrases  beginning  on  the  eighth  note  before  the 
beat ;  dotted-eighth  and  sixteenth  notes.  The  dotted 
quarter-note  beat  —  the  quarter  and  eighth  note  to  a  beat ; 
three  eighth  notes  to  a  beat ;   more  advanced  studies. 

'  See  Manual,  Vol.  Ill,  page  iii. 

2  Monthly  Outlines  for  the  work  of  Grades  Four  and  Five  are  given  in  Teacher's  Manual, 
A'^olume  II,  but  for  the  guidance  of  teachers  using  Book  Three,  reviews  of  the  technical  prob- 
lems covered  in  Book  Two,  with  the  grade  and  month  in  whicli  each  problem  is  introduced, 
and  with  suggestions  for  drill  on  some  of  the  topics,  arc  included  in  Tt^acher's  Manual,  Volume 
111,  preliminary  to  the  Topic.al  Outlines  —  Tone,  Time,  and  Theory  —  for  Gra<les  Six  and 
Seven.     See  pages  49,  52,  and  54. 

35 


36  TEACHER'S   MANUAL 

(c)  Theoky  :  Review  of  the  topics  of  Book  Two  :  The  place  of  do  hi 
all  keys;  the  meaning  of  the  familiar  signs  of  notation; 
l)itch  names  of  the  hnes  and  spaces  of  the  staff;  finding 
the  keynote  in  minor  keys ;  study  of  the  keyboard  diagram. 

U.    Sight  Reading 

Book  Three,  Chapter  I,  pages  5-19. 

III.    Song  Singing  and  Interpretation 

The  songs  assigned  in  the  monthly  outlines  for  sight  reading  af^'oril 
abundant  material  for  general  singing.  Patriotic  and  Devotional 
songs  are  provided  in  Book  Three,  Pai't  Four. 


SIXTH    GRADE,    SECOND    MONTH 
I.    Drill 

(a)  Tone:   The  melodic  minor  scale. 
(6)   Time  :   As  in  the  previous  month. 

(c)   Theory  :   Building  major  scales  ;   deriving  key  signatures  from  the 
scales.     New  characters  of  notation. 

n.   Sight  Reading 

Book  Three,  Chapter  II,  pages  20-27. 


SIXTH    GRADE,    THIRD    MONTH 
I.    Drill 

(a)  Tone  :  As  in  previous  months. 

(b)  Time  :   The  eighth-note  beat. 

(c)  Theory  :   The  eighth-note  beat.     New  characters  of  notation. 

U.    Sight  Reading 

Book  Three,  Chapter  III,  pages  28-33. 


SIXTH   GRADE,   FOURTH    MONTH 
I.    Drill 

(a)  Tone  :   As  in  previous  months. 

(b)  Time:   The  dotted  quarter-note  beat,  more  advanced  studies. 

(c)  Theory  :    Building  minor  scales,  natural,  harmonic,  and  melodic. 

New  characters  of  notation. 

II.   Sight  Reading 

Book  Three,  Chapter  IV,  pages  34-37. 


GRADllI)    OUTLINES  37 

SIXTH    GRADE,    FIFTH    MONTH 

I.    Drill 

(a)  Tone:  The  bridging  tones  in  modulations. 

(b)  Time  :   As  in  previous  months. 

(c)  Theory:   Modulations  to  nearly-rclatod  keys.     New  characters  of 

notation. 

n.    Sight  Reading 

Book  Three,  Chapter  V.  pages  3S-43. 


SIXTH    GRADE,    SIXTH    MONTH 
I.    Drill 

(a)  Tone:  As  in  previous  months. 
(6)  Time  :  As  in  pre\'ious  months. 
(c)   Theory:   Continued  .study  of  modulations  to  nearly-related  keys. 

Continued    study    of    minor    .scales.     New    characters    of 

notation. 

II.    Sight  Reading 

Book  Tlu-ee,  Cliapter  V  (continuetl),  pages  44-51. 


SIXTH    GRADE,    SEVENTH    MONTH 
I.    DriU 

(a)  Tone  :   As  in  previous  months. 

(b)  Time  :   The  half-note  beat. 

(c)  Theory:   The  half-note  beat.     New  characters  of  notation. 

II.    Sight  Reading 

Book  Three,  Chapter  Yl,  pages  52-54.     Also  any  songs  in  i)re\ious 
assignments  that  have  been  omitted. 


SIXTH    GRADE,    EIGHTH    MONTH 
I.    Drill 

[aj  Tone  :   As  in  previous  months. 

(b)  Time  :   As  in  previous  months. 

(c)  Theory  :  More  advanced  song  forms.     New  characters  of  notation. 

II.    Sight  Reading 

Book  Three,  Chapter  VII,  pages  55-64. 


38  TEACHER'S   MANUAL 

SIXTH    GRADE.    NINTH    MONTH 
I.    Drill 

(a)  Tone:   The  introduction  of  three-part  singing. 

(b)  Time  :   As  in  previous  months. 

(c)  Theory:   The  notation  of  three-part  songs. 

II.    Sight  Reading 

Book  Three,  Chapter  VIII,  pages  65-75. 


SIXTH    GRADE,    TENTH    MONTH 
I.    DriU 

(a)  Tone  :   As  in  previous  months. 

(b)  Time  :   As  in  previous  months. 

(c)  Theory  :   As  in  previous  months. 

II.    Sight  Reading 

Book  Three,  Chapter  VIII  (continued),  pages  76-85. 


SEVENTH   GRADE,   FIRST   MONTH 
I.    Drill 

U()  Tone:   A  review  of  the  problems  studied  in  the  previous  grades  as 

they  occur  in  the  songs  assigned  for  sight  reading. 

(b)  Time  :   A  review  of  the  problems  studied  in  the  previous  grades  as 

they  occur  in  the  songs  assigned  for  sight  reading.     Four 
equal  notes  to  a  beat. 

(c)  Theory  :    A  review  of  the  problems  of  previous  grades,   including 

building  of  major  and  minor  scales.     New  characters  of 
notation. 

n.   Sight  Reading 

Book  Three.     Songs  selected  from  Chapter  IX,  pages  86-101. 


SEVENTH    GRADE,    SECOND    MONTH 
I.    Drill 


(a)  Tone:   Four  tones  ascending  chromatically. 

(b)  Time  :   As  in  previous  months. 

(c)  Theory  :  The  ascending  chromatic  scale. 


GRADED    OUTLINES  39 


n.   Sight  Reading 

Book  Three,  Chapter  X,  i)ages  102-108. 


SEVENTH    GRADE,    THIRD    MONTH 
I.    Drill 

(a)  Tone:    As  in  previous  months. 

(fe)   Time:   Triplets,  three  notes  in  the  time  of  two. 

(c)   Theory:   As  in  previous  months. 

11.   Sight  Reading 

Book  Three,  (liaptcr  XI,  pages  109-117. 

SEVENTH    GRADE,    FOURTH    MONTH 
I.    Drill 

(a)  Tone:   Fom' tones  descending  chromatirally. 

(b)  Time  :   As  in  previous  months. 

(c)  Theory  :   The  descending  chromatic  scale. 

II.    Sight  Reading 

Book  Three,  Chapter  XII,  pages  118-124. 


SEVENTH    GRADE,    FIFTH    MONTH 
I.    Drill 

(a)  Tone  :   As  in  previous  months. 

(b)  Time  :    Syncopation. 

(c)  Theory  :   As  in  previous  months. 

n     Sight  Reading 

Book  Three,  Chapter  XIII,  pages  125-128.  .\.lso  any  .songs  in  pre- 
vious assignments  that  have  been  omitted,  and  songs  selected 
from  Chapter  IX. 

SEVENTH    GRADE.    SIXTH    MONTH 
I.    Drill 

(a)  ToxE :   As  in  previous  months. 

(b)  Time  :   As  in  previous  months. 

(c)  Theory  :   As  in  previous  months. 

n.   Sight  Reading. 

Book  Three,  Songs  selected  from  Chapter  XIV,  pages  129-152. 


40  TEACHER'S    MANUAL 

SEVENTH    GRADE,    SEVENTH    MONTH 
I.    Drill 

la)  Tone  :    A.s  in  previous  months. 
(6)   Time:   ('omplicated  rhythms. 
(c)   Theory  :   As  in  previous  months. 

II.    Sight  Reading 

Book  Three,  Chapter  X\',  pages  153-1G8. 

SEVENTH    GRADE,    EIGHTH    MONTH 
I.    Drill 

{a)  Tone:   The  bridging  tones  in  modulation. 

(6)   Time  :  As  in  previous  months. 

(c)   Theory  :   Modulations  to  remote  keys. 

II.    Sight  Reading 

Book  Three,  Chapter  XVI,  pages  169-175. 

SEVENTH    GRADE,    NINTH    MONTH 
I.    Drill 

(a)  Tone:   As  in  previous  months. 

(b)  Time  :  As  in  previous  months. 

(c)  Theory  :   Contrapuntal  style. 

II.    Sight  Reading 

Book  Three,  Chapter  XVII,  pages  176-183. 

SEVENTH    GRADE,    TENTH    MONTH 
I.    Drill 

(a)  Tone  :   As  in  previous  months. 

(6)   Time:    The  dotted  quarter-note  beat,  more  advanced  studies,  i.e. 

nine-eighth  and  twelve-eighth  measure. 
(c)  Theory  :  As  in  previous  months. 

II.    Sight  Reading 

Book  Three,  Chapter  XVIII,  pages  184-192. 


IT.     MoN'Tiiiv  Orri.iXKs  —  Nump.ki!  Two 

The  following  Monthly  Outline  is  ai-ranged  according  to  the  plan  by  which 
Book  Three  is  completed  in  the  Sixth  and  first  half  of  the  Seventh  Grades. 


SIXTH    GRADE.    FIRST    MONTH 
I.    DriU 

(a)  ToxE :  Review  of  the  topics  of  Book  Two :  Tone  relations  in  the 
diatonic  major  scale;  sharp  chromatics,  diatonic  half-step 
progressions ;  flat  chromatics,  diatonic  half-step  progres- 
sions; the  introduction  of  the  minor  mode;  interval 
studies  in  the  diatonic  major  scale ;  two-part  singing ; 
tone  relations  in  the  harmonic  minor  scale ;  sharp  chro- 
matics, skips  to  sharps,  resolving  upward,  and  the  whole 
step  ascending ;  fiat  chromatics,  skips  to  flats,  resolving 
downward,  and  the  whole  step  descending ;  three  tones 
ascending  chromatically ;  three  tones  descending  chro- 
matically. 

(6)  TniE  :  Review  of  the  topics  of  Book  Two  :  The  quarter-note  beat  — 
quarter,  half,  dotted-half,  and  whole  notes  and  the  corre- 
sponding rests  ;  eighth  notes  ;  dotted-quarter  and  eighth 
notes ;  phrases  beginning  on  the  eighth-note  before  the 
beat ;  dotted-eighth  and  sixteenth  notes.  The  dotted 
quarter-note  beat  —  the  quarter  and  eighth  note  to  a  beat ; 
three  eighth  notes  to  a  beat ;   more  advanced  studies. 

(c)  Theory  :  Review  of  the  topics  of  Book  Two  :  Finding  do  in  all 
keys ;  explaining  the  meaning  of  the  familiar  signs  of 
notation ;  pitch  names  of  the  lines  and  spaces  of  the  staff ; 
finding  the  keynote  in  minor  keys ;  study  of  the  keyboard 
diagram. 

II.    Sight  Reading 

Book  Three,  Chapter  I,  pages  5-19. 

III.    Song  Singing  and  Interpretation 

The  songs  assigned  in  the  monthly  outlines  for  sight  reading  afford 
abundant  material  for  general  singing.  Patriotic  and  Devotional 
songs  are  provided  in  Part  Four  of  Book  Three. 

T.  .M.  Viil.  HI— t 


42  THACHER'S   MANUAL 

SIXTH   GRADE,    SECOND    MONTH 
I.    Drill 

((;)   Toxic:   Tlic  melodic  luiiior  scale. 
(6)   Time  :   As  in  the  previous  month. 

(c)   Theory:   Building  major  scales ;   deriving  key  signatures  from  t lie 
scales.     New  characters  of  notation. 

II.    Sight  Reading 

Book  Three,  Chapter  II,  pages  20-27. 

SIXTH    GRADE,    THIRD    MONTH 
I.    Drill 

(a)  Tone  :   As  in  previous  months. 

(b)  Tlme:    The  eighth-note  beat.     The  dotted  quarter-note  beat,  more 

advanced  studies. 

(c)  Theory:    Building  minor  scales,  natural,  harmonic,  and  melodic. 

The  eighth-note  beat.     New  characters  of  notation. 

U.    Sight  Reading 

Book  Three,  Chapter  III,  pages  28-33. 
Chapter  IV,  pages  34-37. 

SIXTH    GRADE,    FOURTH    MONTH 
I.    Drill 

(a)  Tone  :   The  bridging  tones  in  modulations. 

(b)  Time:   As  in  previous  months. 

(c)  Theory  :    Modulations  to  nearly-related  keys.     New  characters  of 

notation. 

II.    Sight  Reading 

Book  Three,  Chapter  V,  pages  .38-51. 

SIXTH    GRADE,    FIFTH    MONTH 
I.    Drill 

(a)  Tone:   As  in  previous  months. 
ib)  Time:  The  half-note  beat. 

(c)   Theory  :   The  half-note  beat.     More  advanced  song  foiTns.    New 
characters  of  notation. 

II.    Sight  Reading 

Book  Three,  Chapter  \T,  pages  52-54. 
Chapter  VII,  pages  5.5-64. 


GRADED   OUTLINES  43 

SIXTH    GRADE,    SIXTH    MONTH 


I.    Drill 

(a)  Tone:   The  introduction  of  three-part  singing. 

{b)  Time  :  As  in  previous  months. 

(c)   Theory  :   The  notation  of  three-part  songs. 

II.    Sight  Reading 

Book  Three,  Chapter  \TII,  pages  (55-85. 


SIXTH    GRADE,    SEVENTH    MONTH 
I.    Drill 

(«)  Tone  :   As  in  previous  months. 
(6)   Time  :   Four  ecpial  notes  to  a  beat. 
(c)    Theory  :   As  in  previous  months. 

II.    Sight  Reading 

liook  Three,  Chapter  IX,  pages  86-101. 


SIXTH    GRADE,    EIGHTH    MONTH 
I.    Drill 

(a)  Tone  :   Four  tones  ascending  chromatically. 
(6)   Time  :   Triplets,  three  notes  in  the  time  of  two. 
(c)   Theory  :     The    ascending    chromatic    scale.     Xew    characters    of 
notation. 

II.    Sight  Reading 

Book  Three,  Chapter  X,  pages  102-108. 
Chapter  XI,  pages  109-117. 

SIXTH    GRADE,    NINTH    MONTH 
I.    Drill 

(a)  Tone  :   Four  tones  descending  chromatically. 

(b)  Time  :   Syncopation. 

(c)  Theory:    The   descending   chromatic   scale.     Xew   characters   of 

notation. 

n.    Sight  Reading 

Book  Three,  Chapter  XII,  pages  118-124. 
Chapter  XIII,  pages  125-128. 


44  TEACHER'S    MANUAL 

SIXTH    GRADE,    TENTH    MONTH 
I.    DriU 

(a)  Toxe:  Review. 
(6)  Time:  Review, 
(c)   Theory  :   Review. 

II.    Sight  Reading 

Book  Three.     A  review  of  the  songs  studied  in  Grade  Six,  taking  for 
sight  reading  any  which  may  have  been  omitted. 


SEVENTH    GRADE,    FIRST    MONTH 
I.    DriU 

(a)  Tone :   A  review  of  the  problems  studied  in  tlie  previous  grades  as 

they  occur  in  the  songs  assigned  for  sight  reading. 
(6)  Time  :  A  review  of  the  problems  studied  in  the  previous  grades  as 

they  occur  in  the  songs  assigned  for  sight  reading, 
(c)   Theory:    A  review  of  the  problems  of  previous  grades,  including 

liuilding  of  major  and  minor  scales.     New  characters  of 

notation. 

II.    Sight  Reading 

Book  Three,  Chapter  XIV,  pages  129-152. 


SEVENTH    GRADE,    SECOND    MONTH 
I.    Drill 

(a)  Tone  :   As  in  previous  months. 
(6)   Time  :   Complicated  rhythms. 

(c)   Theory  :    Review  of  the  construction  of  the  chromatic  scales,  as- 
cending and  descending. 

II.   Sight  Reading 

Book  Three,  Chapter  XV,  pages  153-168. 


SEVENTH   GRADE,    THIRD    MONTH 
I.    Drill 

(a)  Tone  :   The  bridging  tones  in  modulations. 

(6)   Time  :   As  in  previous  months. 

(c)   Theory  :   Modulations  to  remote  keys. 


GRADED   OUTLINES  45 

II.   Sight  Reading 

Book  Tlnee,  Cliapter  XVI,  pages  IG9-I75. 

SEVENTH   GRADE,   FOURTH    MONTH 
I.    Drill 

(a)  ToxE :   As  in  previous  months. 
(6)   Time  :   As  in  previous  months. 
((•)    Theory:  Contrapuntal  style. 

n.    Sight  Reading 

Book  Tliree,  Chapter  XVII,  pages  176-183. 

SEVENTH   GRADE,   FIFTH   MONTH 
I.   Drill 

(o)  Tone  :   As  in  previous  months. 

(b)  Time  :    The  dotted  quarter-note  beat,  more  advanced  studies,  i.e. 

nine-eighth  and  twelve-eighth  measures. 

(c)  Theory  :   As  in  previous  months. 

Li.   Sight  Reading 

Book  Three,  Chapter  XVIII,  pages  184-192. 


111.    Monthly  Outi.ixks  —  Numbki!  'I'liiiKK  ' 

The  foUowiiio;  Monthly  Outline  provides  for  the  eoiupletioii  of  Book  Three 
in  tiie  Sixth  (Jrade. 


SIXTH    GRADE,    FIRST    MONTH 
I.    DriU 

(a)  Tone  :   Review  of  the  topics  of  Book  Two  :   Tone  relations  in  the 

diatonic  major  scale  ;  shaqi  chromatics,  diatonic  half-step 
progressions ;  flat  chromatics,  diatonic  half-step  pi-ogres- 
sions ;  the  introduction  of  the  minor  mode ;  interval 
studies  in  the  diatonic  major  scale;  two-part  singing  ;  tone 
relations  in  the  harmonic  minor  scale ;  sharp  chromatics, 
skips  to  sharps,  resolving  upward,  and  the  whole  step 
ascending ;  flat  chromatics,  skips  to  flats,  resolving  down- 
ward, and  the  whole  step  descending ;  three  tones  ascend- 
ing chromatically ;  three  tones  descending  chromatically. 

(b)  Time:    Review  of   the   topics   of   Book   Two.     The   quarter-note 

beat  —  quarter,  half,  dotted-half ,  and  whole  notes  and  the 
corresponding  rests ;  eighth  notes ;  dotted-quarter  and 
eighth  notes ;  phrases  beginning  on  the  eighth  note  before 
the  beat ;  dotted-eighth  and  sixteenth  notes.  The  dotted 
quarter-note  beat  —  the  quarter  and  eighth  note  to  a  beat  ; 
three  eighth  notes  to  a  beat ;  more  advanced  studies. 

(c)  Theory  :    Review  of  the  topics  of  Book  Two  :    Finding  do  in  all 

keys  ;  explaining  the  meaning  of  the  familiar  signs  of  nota- 
tion ;  pitch  names  of  the  lines  and  spaces  of  the  stafif : 
finding  the  keynote  in  minor  keys ;  study  of  the  keyboard 
diagram. 

II.   Sight  Reading 

Book  Three,  Chapter  I,  pages  5-19. 

SIXTH    GRADE,    SECOND    MONTH 
I.    DriU 

{a)  Tone  :   The  melodic  minor  scale. 
(6)   Time  :   As  in  previous  months. 

(c)   Theory  :    Building  major  scales  ;   deri\ing  key  signatures  from  the 
scales.     New  characters  of  notation. 
46 


('■UAUED    OUTLINES  47 

II.    Sight  Reading 

Book  Tlu'oc,  Chiiptor  IT,  pages  20-27. 

SIXTH    GRADE,    THIRD    MONTH 
I.    Drill 

(a)  Tone  :   As  in  previous  months. 

(b)  Time:   The  oiglith-note  beat.     The  dotted  quartor-note  heat,  more 

advanced  studies. 

(c)  Theory:    Ruildinu;  minor  scales,  natural,  liarrnonic,  and  melodic; 

the  eight  h-nole  beat. 

II.    Sight  Reading 

Book  Three.     Songs  selected  fiom  Chapter  III,  pages  28-.3.3. 
Songs  selected  from  Chapter  IV,  paaes  .34-.37. 

SIXTH    GRADE,    FOURTH    MONTH 
I.    Drill 

ia)  Tone:   The  bridging  tones  in  modulations. 

(b)  Time  :    As  in  previous  months. 

(c)  Theory:    ^Modulations  to  nearly-related  keys.     Continued  drill  ia 

biulding  minor  scales. 

II.    Sight  Reading 

Book  Three.     Songs  selected  from  ( 'hapter  \.  pages  38-51. 

SIXTH    GRADE,    FIFTH    MONTH 
I.    DriU 

(a)  Tone:   As  in  ]ire\-ious  months. 

(b)  Time:   The  half-note  beat. 

(c)  Theory  :   The  half-note  beat  ;    more  advanced  song  forms. 

II.    Sight  Reading 

Book  Three.     Songs  selected  from  Chapter  \'I,  ])ages  52-54. 
Songs  selected  from  Chapter  VII,  pages  55-C4. 

SIXTH    GRADE,    SIXTH    MONTH 
I.    Drill 

(a)  Toxe  :   The  introduction  of  three-part  singing. 

(b)  Time  :   .\s  in  previous  months. 

(c)  Theory  :   The  notation  of  three-part  songs. 

II.    Sight  Reading 

B(j()k  Three.     Songs  selected  fi-om  Cliapter  VIII,  pages  65-85. 


48  TEACHER'S   xMANUAL 


SIXTH    GRADE,    SEVENTH    MONTH 
I.    Drill 

(n)  Tons  :   Four  tones  ascending  chromatically. 

(6)   Time  :   P'our  equal  notes  to  a  beat. 

(c)   Theory  :  The  ascending  chromatic  scale. 

n.    Sight  Reading 

Book  Three.     Songs  selected  from  Chapter  IX,  pages  86-101. 
Songs  selected  from  Chapter  X,  pages  102-108. 

SIXTH   GRADE,  EIGHTH   MONTH 
I.   Drill 

(a)  Tone  :   Four  tones  descending  chromatically. 

(fc)   Time:  Triplets. 

(c)   Theory  :   The  descending  chromatic  scale. 

II.   Sight  Reading 

Book  Three.     Songs  selected  from  Chapter  XI,  pages  109-117. 
Songs  selected  from  Chapter  XII,  pages  118-124. 
Songs  selected  from  Chapter  XIII,  pages  12.5-128. 


SIXTH   GRADE,    NINTH    MONTH 
I.   Drill 

(a)  Tone  :   The  bridging  tones  in  modulations. 
>     (fe)   Time  :  Complicated  rhythms. 

(c)   Theory  :   Modulations  to  remote  keys. 

II.   Sight  Reading 

Book  Three.     Songs  selected  fronj  Ch'apter  XV,  pages  15.3-168. 
Songs  selected  ffrom  Chapter  XVI,  pages  169-175. 


SIXTH   GRADE,   TENTH   MONTH 
I.   Drill 

(a)  Tone  :   As  in  previous  months. 

(ft)  Time:   The  dotted  quarter-note  beat,  more  advanced  studies,  i.e. 

nine-eighth  and  twelve-eighth  measure, 
(c)   Theory  :   Contrapuntal  style. 

n.   Sight  Reading 

Book  Three.     Songs  selected  from  Chapter  XVII,  pages  176-18.3. 
Songs  selected  from  Chapter  XVIII,  pages  184-192. 


IV.    Topical  OrTi.iNEs  — Tone 


FOURTH  GRADE' 


1.  Tone  Relations  in  the  Diatonic  JVIajor  Scale. 

1.  Sequential  Diatonic  Successions. 

a.  Two  Tones. 

b.  Three  Tones. 

c.  Four  Tones. 

2.  Tones  of  the  Tonic  Chord. 

3.  Tones  of  the  Tonic  Chord  with  Active  Neighboring  Tones. 

4.  Active  Tones,  Resolved. 

5.  Chord  Figures. 

Fourth  Grade,  first,  second,  third,  and  fourth  months. 

2.  Sharp  Chromatics ;  Diatonic  Half-Step  Progressions. 

Fourth  Grade,  fifth  month. 


3 


^:^ 


5~*  ^it* 


:s2= 


tit^ 


^ 


3.  Flat  Chromatics  ;   Diatonic  Half-Step  Progressions. 
Fourth  Grade,  eighth  month. 


i 


m 


^ 


s 


^ 


SB: 


cJ  'Jifw 


4.  Songs  in  the  Natural  Minor  Scale 
Fourth  Grade,  tenth  month. 


i 


fcilE^ 


m. 


^^m 


FIFTH    GRADE 

5.  Interval  Drills. 

Fifth  Grade,  first  month. 

(a)  Thirds,  sequen«e^lrill  :   (Key  of  E-flat) 

do-mi,  re-fa,  rpi-so,  etc. 
do-la,  4i-^o,  (a-fa,  etc.^ 

'  See  footnote,  Manual,  Volume  TIT,  page  35. 

'  A  line  above  a  syllable  denotes  the  upper  octave ;  a  line  below  denotes  the  lower  octave. 

49 


50 


TEACHER'S    MANUAL 


6. 


(6)   Fourths,  sequence  drill  :    (Ke}'  of  ("j 

do-fa-mi.  re  so  fa.  etc. 
do-so-la,  ti-fa-so,  etc. 

(c)  Fifths,  secjuence  drill  ;  (Key  of  C) 

do  sofa  mi.  re  la  sofa,  etc. 
do  fa-so-la.  ti  mi  fa-so,  etc. 

(d)  Sixths,  sequence  drill :   (Key  of  E-flat) 

so-mi  do.  la-fa-re.  etc. 
do  mi- so.  ti-re-Ja,  etc. 

(e)  Sevenths. 

The  interval  of  a  seventh  occurs  so  rarely  that  sequential  diill  is  not 
considered  necessary. 

The  Introduction  of  Two-Part  Singing. 
Fifth  Grade,  second  month. 

Melodies  in  the  Harmonic  Minor  Scale. 
Fifth  Grade,  fourth  month. 


fcr 


^ 


^^ 


l^Tp= 


^ 


^- 


8.  Sharp   Chromatics;    Skips   to   Sharps,   Resohing   Upward;     the   Whole 
Step  Ascending. 
Fifth  Grade,  sixth  month. 


Suggestion  for  Drill :  The  figm-es  in  the  following  chromatic  drill  may  he 
sung  in  any  order,  associated  with  any  tone  of  the  diatonic  scale  and 
with  each  other. 


do 

ti-db 

do-ti 

ti 

li-ii 

tilt 

la 

si-la 

la  si 

so 

fi-so 

so-fi 

fa 

mi-fa 

fa  mi 

mi 

ri  mi 

mi  ri 

re 

dire 

re-di 

do 

do 

do 

Flat  Chromatics ;   Skips  to  Flats,  Resolving  Downward ;  the  Whole  Step 
Descending. 
Fifth  Grade,  eighth  month. 


GRADKO    OITLIXKS 


51 


do 

do-ti 

ti-do 

ti 

tela 

la  te 

la 

le-so 

so  le 

so 

se-fa 

fa-se 

fa 

fa-mi 

mi-fa 

mi 

me  re 

re  me 

re 

ja-do 

do-ra 

do 

do 

do 

10.  Tlu'co  Tones  Ascendiu'^  C'hidiiiatically. 
P'ifth  Grade,  tenth  month. 


^^^i^g-g^ig^^^^ii^^^^^iS^jsa^^ 


im 


^^---^-~ 


:=t:=^- 


:*=«*- 


"^j^EpE^g=^ 


11.  Three  Tones  Uescending  ('hroinatically. 
Fifth  Grade,  tenth  month. 


4^^ 


^^^ziL 


lig 


22Z 


g?       r- 


^^^^^1 B 


SIXTH    AND    SEVENTH    GRADES 

For  the  grade  and  montli  in  which  these  suceessivc  problems  are  introduced,  see  the  three  alter- 
native Monthly  Outlines,  pages  35,  41.  and  4(1. 

12.  Melodies  in  the  Melodic  Minor  Scale. 

Manual,  Vol.  Ill,  page  67. 

13.  Modulations  to  Nearly-related  Keys. 

Manual,  Vol.  Ill,  page  78. 

14.  The  Intiodiu'tion  of  Three-Part  Singmg. 

Manual,  NOl.  Ill,  page  92. 

15.  Four  Tones  Ascending  Chromaticalh'. 

Manual,  Vol.  Ill,  page  100. 

16.  Four  Tones  Descending  Chromatically. 

Manual,  Vol.  Ill,  page  105. 

17.  Modulations  to  Remote  Keys. 

Manual,  \'()1.  Ill,  page  114. 


V.   Topical  Outlines  —  Time 

FOURTH    GRADE 

1 .  The  Quarter-Note  Beat ;    Quarter,  Half,  Dotted-Half ,  and  Whole  Notes 

and  the  Corresponding  Rests. 
Fourth  Grade,  first  and  second  months. 

r    ^ 
r  - 

2.  The  Quarter-Note  Beat ;  Eighth  Notes. 

Fourth  Grade,  third  month. 

if 


C^ 


.3.  The  Quarter-Note  Beat ;   Dotted-Quarter  and  Eighth  Notes. 
Fourth  Grade,  sixth  month. 

ft 

4.  Phrases  Beginning  on  the  Eighth  Note  before  the  Beat. 
Fourth  Grade,  ninth  month. 


FIFTH   GRADE 

5.  The  Dotted  Quarter-Note  Beat;    the  Quarter  and  Eighth  Note  to  a 

Beat. 
Fifth  Grade,  third  month. 

r  0 

6.  The  Dotted  Quarter-Note  Beat ;   Three  Eighth  Notes  to  a  Beat. 

Fifth  Grade,  fifth  month. 

LLf 

52 


GRADED   OUTLINES    .  53 

7.  The  Dotted  Quarter-Note  Beat;  JNIorc  Advanced  Studies. 

Fifth  Grade,  seventh  month. 

^    »    m   p    m 

8.  The  (iuai'ter-Xotc  Beat ;   Dotted-Eighth  and  Sixteenth  Notes. 

Fifth  Grade,  ninth  month. 


SIXTH   AND    SEVENTH    GRADES 

For  the  grade  and  month  in  which  thoso  suepessive  proliloms  are  introduced,  see  the  three 
alternative  Monthly  Outlines,  pages  35,  41,  and  46. 

9.  The  Eighth-Note  Beat. 

Manual,  Vol.  Ill,  page  72. 

10.  The  Dotted  Quarter-Note  Beat ;   More  Advanced  Studies. 

Manual,  Vol.  Ill,  ]:)age  76. 

11.  The  Half-Note  Beat. 

Manual,  Vol.  Ill,  page  84. 

12.  Four  Equal  Notes  to  a  Beat. 

Manual,  Vol.  Ill,  page  96. 

13.  Triplets;  Three  Notes  in  the  Time  of  Two. 

Manual,  Vol.  Ill,  page  102. 

14.  Sj'ncopation. 

Manual,  Vol.  Ill,  page  107. 

l.").  Complicated  Rhythms. 

:Manual,  Vol.  Ill,  page  HI. 

16.  Tlie  Dotted  Quaiter-Note  Beat ;  Advanced  Studies. 
Manual,  Vol.  Ill,  page  117. 


VI.    Topical  Outlines  —  Theory 

For  the  guidance  of  teachers  using  Book  Three,  this  oiithne  of  theory  problems  includes  also 
those  covered  in  Book  Two  (as  studied  in  Grades  Four  and  Five,  witli  the  nioiifhin  which  eax-li 
problem  was  intro(hic(^d),  also  brief  resumes  of  important  facts  developed  and  suggestions  fur 
drill  in  some  of  the  topics. 

FOURTH  GRADE 

1.  Study  of  the  Characters  of  Notation  and  Marks  of  E.xpression  a-*   they 

occur  in  the  songs  of  the  course. 

2.  The  Place  of  do  in  all  Keys  with  Flat  Signatures. 

Fourth  Grade,  first  month. 
When  flats  are  in  the  signature,  the  flat  farthest  to  the  right  is  on  tlie 
same  staff  degree  as /a.     Therefore  so  is  on  the  next  staff  degree  above. 
Locate  so-mi-do  on  descending  lines  (or  spaces,  as  the  case  may  be). 

3.  The  Place  of  do  in  all  Keys  with  Sharp  Signatures. 

Fourth  Grade,  second  month. 
WTien  sharps  are  in  the  signature,  the  sharp  farthest  to  the  right  is  on 
the  same  degree  as  ti.     Therefore,  if  ti  is  on  a  line,  so-mi-do  will  he 
found  on  the  next  three  descending  lines  :  if  ti  is  on  a  space,  so-mi-do 
will  be  found  on  the  next  three  descending  spaces. 

4.  The  Place  of  do  in  the  Key  of  C. 

Fourth  Grade,  second  month. 
With  no  sharps  or  fiats  in  the  signature,  do-mi-so  is  on  the  first  line  below, 
the  first  and  the  second  lines  of  the  staff.     This  fact  must  be  mem- 
orized by  the  children. 

5.  The  Two-Part  Round. 

Fourth  Grade,  fourth  month. 

6.  Sharp  Chromatics. 

Fourth  Grade,  fifth  month. 
The  term  "sharp"  is  equivalent  to  the  phrase,  "one  half-step  higher 
than  "  ;  thus  "F-sharp"  means  "one  half-step  higher  than  F."  The 
effect  of  the  sharp  (and  of  other  chromatic  signs)  continues  through- 
out the  measure  in  which  it  occurs,  unless  canceled.  The  syllables 
for  the  sharp  chromatic  tones  are  :  di,  ri,  fi,  si,  and  li. 

54 


GRADED   OITLLXKS  55 

7.  Tho  Natural  foi-  Cancol)  used  a.s  a  Slimi)  ("lifomatic. 
Fourth  (Iradp,  fifth  month. 
In  keys  with  flats  in  the  signature,  the  sliarp  chromatic  is  sometimes 
indicated  hj-  a  natural. 

S.  Flat  Chromatics. 

Foui'th  Grade,  eightli  month. 
The  tenn  "flat "  is  equivalent  to  the  phrase,  "one  half-step  lower  than  "  ; 
thus  "B-flat"  means  "one  half-step  lower  than  R."     The  syllahles 
for  the  flat  chromatic  tones  are  :  ie.  le,  se.  me,  and  ra. 

9.  Tlie  Natural  used  as  a  Flat  Chromatic. 
Fourth  Grade,  eighth  month. 
In  keys  with  sharps  in  the  signature,  the  flat  chromatic  is  sometimes 
indicated  by  a  natural. 

10.   Tho  Minor  Mode. 

Fourth  Grade,  tentli  inoiitli. 
Suggestion  for  Drill :  The  teacher  sounds  la  from  the  i)itchpipe  on  different 
low  pitches  and  the  children  sing  the  ascending  minor  scale  (from 
la  to  la).  She  also  sounds  la  on  high  pitches  and  the  children  sing 
the  descending  scale  (from  la  to  la).  In  songs  in  minor  keys  the 
teacher  tells  the  children  that  the  song  is  in  iiiinoi-,  and,  in  gi\-ing 
the  key-note,  sounds  the  pitch  for  the  syllable  la.  The  children 
find  their  first  tone  by  singing  ascending  or  descending  tones  of  the 
tonic  chord,  la-do-mi,  until  tho  proper  pitch  is  sounded.  As  soon  as 
possible  this  process  should  bo  mental  instead  of  audible.  The 
children  are  not  expected  themselves  to  distinguish  from  the  notation 
the  fact  that  a  song  is  in  the  minor  mode.  For  the  convenience 
of  the  teacher,  the  song  analyses  always  give  the  key-note  of  the 
minor  songs. 


FIFTH    GRADE 

11.  Interval  Studies. 

Fifth  Grade,  first  month. 

An  interval  is  the  difference  in  jjitcli  between  two  tones  and  is  named 

according   to   t]i(>   iHnnl)oi-  of  staff  degrees  included   in    tho  written 

notation.     In  the  study  of  intervals  in  Book  Two,  the  emphasis  is 

placed  upon  tlie  recognition  of  intervals  as  they  appear  iipon  the 


56  TEACHER'S   MANUAL 

staff,  that  is,  as  an  cj'e  stud}-.     Therefore  intervals  are  considereil 

from  the  numerical  standpoint   and  not  according  to  the  specific 

names ;   that  is,  they  are  considered  as  seconds,  thirds,  fourths,  etc., 

but  without  the  particular  designation,  major,  minor,  etc. 
Seconds.     WTiere  adjacent  staff  degrees  are  occupied,   the  inter\'al  is 

called  a  second. 
Thirds.     Where  three  staff  degrees  are  occupied,  the  inter\al  is  called 

a  third.     Therefore  notes  on  adjacent  spaces  or  on  adjacent   lines 

are  a  third  apart. 
Fourths.     WTiere  four  staff  degrees  are  occupied,  the  interval  is  called  a 

fourth. 
Flflhs.     ^Miere  five  staff  degrees  are  occupied,  the  interval  is  called  a 

fifth.     In  fifths,  both  notes  occupy  lines  or  both  notes  occupy  spaces. 
Sixths.     Where  six  staff  degrees  are  occupied,  the  interval  is  called  a 

sixth. 
Sevenths.     Where  seven  staff  degrees  are  occupied,  the  interval  is  called 

a  seventh.     Both  notes  of  the  interval  are  on  lines,  or  both  are  on 

spaces. 
Octaves.     Where  eight  degrees  of  the  staff  are  occupied,  the  interval 

is  called  an  octave.     The  same  syllable  is  sung  for  Ijoth  tones  of  an 

octave. 

Second     Third       Fourth      Fifth  Sixth        Seventh    Octave 


i^H^^^^i^i^iiEH 


i 


r    r    r    r 


12.  The  Notation  of  Two-Part  Songs,  from  two  stages  and  from  one  staff. 

Fifth  Grade,  second  month. 

13.  The  Time  Signature  in  Six-Eighth  Measure. 

Fifth  Grade,  third  month. 
Although  the  time  signature  is  indicated  as  six-eight,  the  children  should 
be  taught  that  there  are  two  beats  in  a  measure  and  that  each  beat 
may  be  repre-sented  in  two  ways:  first,  by  a  dotted-quarter  note; 
second,  by  the  rhythmic  group,  a  quarter  and  an  eighth  note.  This 
idea  is  expressed  in  the  parenthesis  after  the  time  signature  as  fol- 
lows : 


mm 


The  meaning  of  this  is  two  beats  to  a  measure,  each  beat  represented  by 
notes  the  value  of  a  dotted-quarter  note. 


GRADED   OUTLINES  57 

14.  The  Key-Note  in  Alinur  Keys. 

Fifth  Grade,  fourth  month. 

The  only  conchisive  i)l;ui  for  distinguishing  between  major  and  minor 
keys  is  in  the  tonal  effect  of  the  song  oi'  composition.  Neverthe- 
less there  are  certain  distinguishing  points  in  the  notation  whicli 
will  give  a  clew  to  determining  the  tonality  as  major  or  minor,  '^llie 
following  signs  will  assist  the  teacher  in  the  recognition  of  minor 
melodies  : 

First  :  \Mien  the  first  accented  tone  of  the  melody  is  la,  when  the  final 
tone  is  la,  or  when  the  melody  fi'eciuently  centers  around  this  tone 
and  the  tones  of  the  minor  chord,  la-do-mi ;   and, 

Second  :  When,  in  addition,  the  chromatic  tone  si  occurs  more  or  less 
frequently  during  the  course  of  the  composition,  the  song  is  probably 
in  minor. 

15.  The  Harmonic  Minor  Scale. 

Fifth  (rrade,  fourth  month. 
The  Harmonic  Minor  Scale  is  the  one  most  frequently  used  in  building 
the  chords  of  an  accompaniment  to  a  song  in  the  minor  mode.  This 
scale  differs  from  the  Natural  Minor  Scale,  or  the  minor  scale  which 
follows  the  signature  of  the  composition,  in  that  the  seventh  tone  of 
the  scale  appears  as  a  chromatic  tone,  si,  and  lies  one  half-step  below 
the  eighth,  la.     (See  Manual,  Vol.  HI,  page  50.) 

IG.  Simple  Song  Forms. 

Fifth  Cirade,  fifth  month. 

In  the  discussion  of  More  Advanced  Song  Forms,  Manual,  ^'ol.  HI,  page 
86,  reference  is  made  to  the  work  covered  in  the  study  of  .song  forms 
in  Book  One  and  Book  Two. 

17.  The  Pitch  Names  of  the  Lines  and  Spaces  of  tlio  Staff. 
Fifth  Grade,  sixth  month. 
Method  of  Presentation: 

(a)  Teach  the  childr(>n  the  names  of  the  spaces  on  the  staff,  F,  A,  C,  E. 

The  fact  that  the.se  spaces  sj^ell  the  word  "face"  will  help  the 
children  to  remember  them.  The  drill  may  be  conducted  by 
pointing  to  the  spaces  of  the  staff  on  the  board,  by  asking  the 
children  to  find  in  their  books  all  the  notes  on  a  given  space,  or 
in  a  number  of  other  ways. 

(b)  Teach  the  lines  of  the  staff,  E,  G,  B,  D,  F. 

T.  M.  Vol,  III     -r 


58  TEACHER'S   MANUAL 

(c)  Teach  the  name  of  the  space  below  the  staff,  D ;   the  space  above 

the  staff,  G ;   and  the  first  added  hne  below  the  staff,  C. 

(d)  Beginning  on  G,  the  second  line,  around  which  the  G  Clef  curls, 

have  the  children  name  the  lines  and  spaces  up  and  down  the 
staff  to  any  given  pitch. 

(e)  Have  the  children  spell  words  by  writing  notes  on  the  staff,  as  for 

instance : 


f 


32Z 


~C?~ 


ZS3Z 


I 


ace  egg  aeaa 

18.  The  Three-Part  Round. 

Fifth  Grade,  eighth  month. 
Method  of  Presentation :  After  the  melody  has  been  learned,  the  class  is 
to  be  divided  into  three  equal  parts;  the  first  part  starts  the  song 
and  when  that  part  has  arrived  at  the  end  of  the  first  section,  the 
second  part  begins  at  the  beginning.  When  the  second  part  has  ar- 
rived at  the  end  of  the  first  section,  the  third  part  begins  at  the  begin- 
ning. The  three  parts  continue  in  this  order,  repeating  the  round 
again  and  again  until  the  teacher  indicates  the  close. 

19.  The  Names  of  the  Keys  on  the  Piano  Keyboard. 

Fifth  Grade,  eighth  month. 
Method  of  Presentation :   The  children  are  to  learn  the  names  of  the  keys 
on  the  keyboard  diagram  found  on  the  inside  back  cover  of  the 
book.     This  diagram  represents  the  keys  of  the  piano.      In   learn- 
ing to  name  the  keys  the  following  steps  are  advised  : 

(a)  Name  the  white  keys.     The  teacher  may  indicate  the  key  that  is 

named  C  or  the  key  that  is  named  A.  Teach  the  children  to  count 
up  or  down  from  the  given  key. 

(b)  The  names  of  the  black  keys  should  be  learned  through  their  associa- 

tion with  the  neighboring  white  keys.  A  black  key  may  take  its 
name  from  the  white  key  to  the  left,  in  which  case  we  use  the 
same  letter  and  add  the  word  "sharp."  The  word  "sharp"  is 
equivalent  to  the  term  "one  half-step  higher  than."  A  half-step 
is  the  distance  from  any  key  to  its  next  neighbor,  black  or  white, 
up  or  down  the  keyboard.  The  black  key  next  to  the  right  of  C 
would,  therefore,  be  named  "C-sharp." 

(c)  Black  keys  may  also  be  named  by  their  relation  to  the  white  keys  to 

their  right.  A  black  key  is  called  "flat"  in  connection  with  the 
name  of  the  white  key  next  to  the  right. 


GR.\DED   Ol'TLIXES  59 

((/)  111  some  instances  there  is  no  black  key  between  the  two  white  keys, 
in  which  case  the  same  rule  for  the  use  of  the  tenn  "sharp"  or 
"flat,"  indicating  a  half-step,  may  be  applied.  For  example, 
there  is  a  white  key  one  half-step  higher  than  B.  This  key  may 
be  called  either  "C  "  or  " B-sharp."  The  children  are  to  Icaiii  how 
to  name  the  keys,  giving  two  names  to  each  black  key,  and  also  two 
names  to  the  white  keys  which  lie  next  to  white  keys. 

(e)  Sunple  melodies  from  the  book  may  be  "played"  upon  the  diagram, 
first  selecting  songs  in  the  key  of  C,  then  in  keys  of  one,  two,  and 
three  sharps  and  flats.  The  children  should  recite  the  pitch  names 
as  they  point  to  the  keys.  They  should  also  learn  to  observe  the 
place  of  the  sharps  and  flats  in  the  key  signatures,  and  to  follow 
them  carefully  in  "playing"  upon  the  keyboard  diagram. 


SIXTH   AND    SEVENTH   GRADES 

For  the  grade  and  month  in  which  these  suceossive  problems  are  introduced,  see  the  three 
alternative  Monthly  Outlines,  pages  35,  41,  and  40. 

20.  Building  Major  Scales  in  the  Key  of  C'  and  in  Keys  with  Sharp  Signa- 

tures, by  the  use  of  the  Keyboard  Diagram. 
Manual,  Vol.  Ill,  page  67. 

21.  Building  Major  Scales  in  Keys  with  Flat  Signatures. 

Manual,  Vol.  Ill,  page  68. 

22.  Deriving  the  Key  Signatures  from  all  Major  Scales. 

Manual,  Vol.  Ill,  page  68. 

2.3.  Building  Minor  Scales  :  a,  Natural ;  h,  Harmonic ;  c.  Melodic. 
Manual,  Vol.  Ill,  page  73. 

24.  The  Theory  of  Time  Signatures ;  Comparing  the  Quarter-Note  Beat  and 

the  Eighth-Note  Beat. 
Manual,  Vol.  Ill,  page  73. 

25.  Modulations  to  Nearly-related  Keys. 

Manual,  Vol.  Ill,  page  80. 

26.  Continuation  of  the  Theory  of  Time  Signatures;  Comparing  the  Quarter- 

Note  and  the  Eighth-Note  Beats  with  the  Half-Note  Beat. 
Manual,  Vol.  Ill,  page  84. 

27.  Continuation  of  the  Study  of  the  Form  (Structure)  of  Songs. 

Manual,  Vol.  Ill,  page  86. 


60  TEACHER'S   MANUAL 

2S.  The  Notation  of  Three-Part  Songs. 
Manual,  Vol.  Ill,  pii^o  93. 

29.  The  Ascending  (Chromatic  Scale. 

Manual,  Vol.  Ill,  page  100. 

30.  The  Descending  Chromatic  Scale. 

Manual,  Vol.  Ill,  page  105. 

31.  Modulations  to  Remote  Keys. 

Manual,  Vol.  Ill,  page  114. 

32.  Contrapuntal  Style. 

Manual,  Vol.  Ill,  page  116. 


PAKT   TIIHEE 
CHAPTER    OUTLINES 


CHAPTER   I.     MELODIES    REVIEWING    TOPICS    OF   BOOK    TWO 
I.   Tone  Drill 

No  tone  prohleiiis  occur  in  tlie  songs  of  Chapter  I  wliich  were  not 
treated  in  Book  Two.  The  .successive  topics  are  nu'iilioncd  in  llie 
analyses  of  the  songs.  It  should  be  observed  that  the  succession  of 
songs  in  this  chapter  follows  the  order  of  topics  as  presented  in  the 
successive  chapters  of  Book  Two.' 

n.   Time  Drill 

No  new  time  problems  appear  in  tliis  chapter,  although  there  are  several 
new  nieasui'e-fomis  which  occur  in  the  songs.  These  are  listed  below 
and  the  individual  forms  are  also  listed  in  connection  with  the  song 
analyses.  As  was  the  case  with  the  tone  topics,  the  order  of  re\'iew 
time  topics  in  this  chaj^tei-  follows  the  order  of  their  presentation  in 
the  chapters  of  Book  Two.'- 

Three-quarter  /3'' 


measure 

(1)  r  r 


(2) 
(3) 

(4) 
(5) 
(6) 
(7) 


Four-quarter  measure  (  .  J 

f        -^        P        ^ 


•         m   »  0 

^  I 
P   P   •  . 

0  »  0 


C  I  '^    u 


0 

-1  • 

1 


(9) 
(10) 

(11) 
(12) 

(i;-!) 

(14) 


Six-eighth 
measure 

i 
0  . 


") 


0 


:    JC 


0 
0 


P 
U 


III.   Theory  Drill 

1.  No  new  theory  problems  occur  in  the  songs  of  this  chapter.  The 
meaning  of  the  characters  of  notation  and  marks  of  expression 
which  occur  in  the  songs  should  be  explained  to  the  pupils.  The 
teacher  is  referred  to  the  Glossary,  page  303,  for  an  explanation 
of  the  foreign  expression  marks. 

'  Sop  Topical  Outlino.s  —  Tone,  page  40.  where  the  successive  topics  are  given,  and  where 
suggestions  an;  made  for  drill  on  topii-s  of  Book  Two. 

2  See  Toi)ical  Outlines  —  Time,  page  .52,  for  a  list   of  successive   topics   and  fur  niatirial 
for  drill  on  topics  presented  in  Book  Two. 

61 


62  TEACHER'S   MANUAL 

2.  The  successive  steps  in  Theory,  which  have  been  covered  in  previous 

grades  through  the  study  of  Book  Two,  will  he  found  in  the  Theory 
Outline  on  page  54.  The  methods  suggested  in  Manual,  Vol.  II. 
are  briefly  reviewed. 

3.  The  class  should  review : 

(a)  The  study  of  the  pitch  names  of  the  lines  and  spaces  of  the 

staff.     (See  page  57.) 
(6)  The  study  of  the  names  of  the  keys  on  the  keyboard  diagram. 

(See  page  58.) 

IV.    Sight  Reading 

From  this  point  the  songs  should  be  sight  read  in  three  steps  as  follows  : 

First  Step  :  Singing  the  song  with  the  words. 
Second  Step  :  Singing  the  song  with  loo. 
Third  Step  :  Singing  the  song  by  syllables. 

Before  singing  the  song  with  the  words  a  careful  analytical  study  of  the 
song  and  its  problems  should  be  made,  the  words  should  be  read  and, 
if  necessary,  studied.  In  many  cases  it  may  be  necessary  to  read  the 
words  several  times  so  that  the  chief  concentration  may  be  placed 
upon  the  notes  of  the  song.  If  the  sight  reading  with  words  is  not 
done  with  comparative  readiness,  or  if  it  seems  that  the  children  are 
lost  in  the  difficulties  of  the  song  when  attempting  them  with  words, 
try  the  song  with  loo  or  at  least  try  the  difficult  phrases  with  loo.  If 
this  study  does  not  accomplish  the  result  of  enabling  the  children  to 
sing  the  song  with  words,  then  sing  the  difficult  phrases  with  the  syl- 
lables. 

The  point  at  which  these  studies  are  aiming  is  to  enable  children  to  sing 
at  sight  new  music  with  words.  WTien  the  children  show  themselves 
able  to  do  this  with  comparative  readiness,  the  third  step,  namely 
singing  by  syllables,  may  be  omitted.  Eventually  it  may  be  found 
possible  to  omit  the  second  step,  though  in  future  sight  read- 
ing, the  knowledge  of  syllables  will  often  be  helpful  in  over- 
coming difficulties. 

V.   Song  Analysis  and  Interpretation 

The  Pearl;   Book  Three,  page  5.     Manual,  Vol.  Ill,  page  121. 
TONE :    Tones  of  the  diatonic  major  scale.    The  skips  are  only  such  as 
have  been  thoroughly  practiced  in  the  work  of  Book  Two. 


CHAPTER  OUTLINES  03 

time:  One  measure-form  occurs  which  was  not  included  in  the  study 
of  Book  Two,  namely,  inoasure-forni  number  2,  found  in  the  Time 
Drill  for  this  chapter.  (See  page  61.)  The  other  measure-forms  are 
familiar,  but  if  desired  may  be  written  upon  the  board  as  time  jjrob- 
lems  for  class  drill. 

THEORY :  Finding  do  from  the  last  flat  by  counting  down  four  staff  de- 
grees.    The  song  is  in  the  key  of  B-flat  major.' 

ixTERPRETATioN  :  Sing  stcadily  but  gently. 

To  the  River;''  Book  Three,  page  6.     Manual,  Vol.  Ill,  page  122. 
i.\TERPKET.\TioN  I   Sing  rather  quickly  and  gently.     Observe  carefully 
the  effect  of  the  hold. 

Past  Three  O'clock;  Book  Tliree,  page  6.     Manual,  Vol.  Ill,  page  123. 

TIME :  Observe  the  introduction  of  the  eighth  note.  The  song  includes 
measure-form  number  1,  found  in  the  Time  Drill  foi-  this  chaptpi-. 
(See  page  61.) 

THEORY :   Finding  do  from  the  last  sharp,  which  appears  on  the  staff  de- 
gree representing  seven  of  the  scale.     The  song  is  in  the  key  of  Ci 
major.     Observe  also  the  repeat  marks  and  the  sign  {pp),  pianissimo, 
meaning,  sing  extremely  softly. 
"Andante."     See  Glossary. 

INTERPRETATION:  The  soug  should  be  sung  rather  slowly  and  (jiute 
sunply.  Notice  the  pianissimo  effect  after  the  hokl.  A  slight  ritard 
in  the  last  phrase  will  be  effective. 

Swallow,  Swallow;  Book  Three,  page  7.     Manual,  Vol.  Ill,  page  124. 

tone:  Observe  the  introduction  of  the  .sharp  chromatic. 

time:  There  are  no  new  time  problems  in  the  song,  though  it  would  he 
well  to  place  the  different  measures  on  the  board  for  drill. 

THEORY  :   The  song  is  in  the  key  of  D  major. 

interpretation:  Sing  slowly  and  gently,  observing  the  marks  of  ex- 
pression. 

Autumn  Holiday;  Book  Three,  page  8.     Manual,  Vol.  Ill,  page  125. 
time:   The  song  introduces  the  dotted-quarter  and  eighth  notes. 
theory:  The  song  is  in  the  key  of  E-flat  major. 

"  Allegro."     See  Glossary. 
interpret.'Vtion  :   Sing  briskly  and  with  marked  rhythm. 

'  Each  major  key  is  named  at  its  first  appearance  in  the  song  analyses  of  Book  Three.  The 
name  of  the  key  is  given  for  ov(Ty  analyzinl  minor  song. 

-  There  are  no  new  tone,  time,  or  theory  problems  in  fliis  song,  so  th(^  siiI>-lopics  are  omille<l. 
In  all  subsequent  songs,  the  omission  of  a  sub-topic  indicates  that  there  are  np  new  problems 
und<T  that  topic. 


64  TEACHER'S   MANUAL 

Where  Go  the  Winds;   Book  Three,  page  9.     Manual,  Vol.  Ill,  page  126. 

TONE :  The  new  tonal  problem  is  the  flat  chromatic,  which  occurs  soxcral 
times  during  the  course  of  the  song.  Observe  also  in  the  fiftli  meas- 
ure that  the  flat  chromatic  is  followed  by  the  diatonic  scale  tone,  in- 
dicated by  the  natural. 

time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  3  and  4.     (See  page  61.) 

THEORY  :  Notice  the  notation  for  the  fiat  chromatic  and  also  the  cancel- 
ling of  the  flat  by  means  of  a  natural  in  the  fifth  measure. 

INTERPRETATION  :  Sing  the  several  stanzas  in  the  spirit  suggested  l)y  tlic 
text,  varying  the  expression  in  accordance  with  tlie  poem. 

The  Song  of  the  Lark;  Book  Three,  page  10. 

time:    The  song  introduces  the  phrase  beginning  with  the  eiglitli  note 

and  includes  the  measure-forms,  found  in  the  Time  Drill  for  this 

chapter,  nmnbers  5,  7,  and  8.     (See  page  61.) 
THEORY :  The  song  is  in  the  key  of  F  major. 
interpretation  :  Sing  simply  and  not  too  quickly. 

Welcome  to  Autumn;  Book  Three,  page  10.     Manual,  Vol.  Ill,  page  127. 
TONE :  The  song  is  in  the  key  of  F  minor,  harmonic  form. 
theory  :  The  hamionic  minor  scale  may  here  be  reviewed.     (See  page 

50.) 
INTERPRETATION  :  Siiig  slowly  and  sadly. 

The  River  Path;  Book  Three,  page  11.     Manual,  Vol.  Ill,  page  128. 
TONE :  This  song  presents  a  review  of  two-part  singing ;   also  several 

chromatic  tones  in  simple  progressions  are  introduced. 
time:  The  song  includes  the  measure-form,  found  in  the  Time  Di'ill  for 

this  chapter,  number  6.  (See  page  61.) 
THEORY  :  "  Andante  lento."  See  Glossary 
interpretation  :  Sing  slowly  and  softly,  with  well-sustained  tones. 

Seesaw  (Three- Part  Round)  ;  Book  Three,  page  11. 

theory  :  The  entire  class  first  learns  the  melody  of  the  round.  The 
class  is  then  divided  into  three  equal  parts.  The  first  division  starts 
the  song,  and  when  that  group  has  arrived  at  the  end  of  the  first 
section,  the  second  group  starts  the  beginning  of  the  song.  When 
the  second  group  has  arrived  at  the  end  of  the  first  section,  the  third 
group  starts  at  the  beginning.  The  three  parts  continue  in  this 
order,  repeating  the  round  again  and  again,  until  the  teacher  indicates 
the  close. 


CIIArTKR    orTI.lXKS  05 

Disianl  Sircdai;  Book  Three,  page  12.     Manual,  Vol.  Ill,  page  130. 
time:  Dotted-eighth  and  sixteenth  notes  oceur  in  this  song. 
THEOUY :  The  song  is  in  the  kej'  of  E  minor. 
iNTERPEET.\TioN :  Sing  Sadly  and  slowly,  hut  do  not  lei  llie  song  drag. 

Daffydowndilly ;  Book  Three,  page  12.     Alanual,  \'oi.  ill,  page  129. 
tone:  The  new  lone  prol)lein  is  the  approach  Id  the  cliriinuitic  tone  l)y 

skip  or  by  step. 
theory:  Observe  the  cautionary  nat\n-al  whieli  appears  in  the  fourtli 

measure  of  the  second  staff,  and  is  intended  to  guard  against  rejx'at- 

ing  the  sharp  in  the  pre\ious  measure. 
interpret.\tiox  :  Sing  slowly  and  gently. 

The  Meadow:  Book  Three,  page  13.     Manual,  Vol.  Ill,  page  132. 
time:  The  song  introduces  the  dotted  (]uarter-notc  beat,  the  quarter 

and  eighth  note  to  a  beat.     The  song  also  includes  the  measure-fonns, 

found  in  the  Time  Drill  for  this  chapter,  numbers   11,  12,  and  13. 

(See  page  61.) 
THEORY :  Observe  the  signs  for  first  and  second  endings,  also  the  rests 

(.including  a  full  measure  rest)  between  the  two  stanzas.     See  notes 

on  "  The  Owl,"'  page  66  (under  Theory). 
interpretation  :  Sing  briskly,  with  happy  enthusiasm. 

Cold  the  Blast  May  Bloir;  Book  Three,  page  14. 

time:  The  new  time  problem  is  the  dotted  (luarter-note  beat,  three 
eighth  notes  to  a  beat,  and  includes  the  measure-fonns,  found  in  the 
Time  Drill  for  this  chapter,  numbers  9  and  10.     (See  page  61.) 

interpretation  :  This  well-known  song  by  Lowell  Mason,  who  has  been 
styled  the  father  of  .American  school  music,  has  long  been  a  favoiite 
with  school  children.  The  answering  effect  of  the  two  voices  is  a 
happy  thought.     The  song  lends  itself  well  to  enthusiastic  singing. 

Milking  Time;  Book  Three,  page  15.     Manual,  Vol.  Ill,  page  133. 
time:  The  song  includes  the  measiuT-fonii,  found  in  the  Time  Drill  for 

this  chapter,  number  14.     (See  page  61.) 
interpretation:  Sing  brightly,  but   not    too   (juickly.     This   beautiful 

Norwegian  folk  song  has  been  made  widely  known  by  a  selection 

for  string  orchestra  by  Edvard  Grieg,  in  which  the  song  appears  as 

the  theme. 

The  Owl;  Book  Three,  page  16.     jNIanual,  Vol.  Ill,  page  134. 
TONE :  The  song  is  in  the  key  of  A  minor  and  introduces  a  number  of 
chromatic  effects,  among  them  the  stepwise  progression  to  the  sharp 
chromatic. 


66  TEACHER'S  MANUAL 

TIME :  The  new  time  element  is  the  dotted  quarter-note  beat,  one  beat 
to  a  measure.  Although  no  essentially  new  principle  is  involved, 
there  will  be  some  difficulty  at  fii"st  in  getting  the  effect  of  one  beat 
to  the  measure. 

THEORY :  The  new  problem  here  presented  is  the  introduction  of  meas- 
ures of  rest.  At  the  beginning  of  the  song,  for  instance,  there  are 
four  measures  of  rest  before  the  first  repeat  mark,  and  then  three 
measures  of  rest  before  the  voices  begin  singing.  Likewise,  later  in  the 
song,  at  one  point  two  measures  of  rest,  and  at  another  three  meas- 
ures of  rest,  are  indicated.  These  rests  must  be  strictly  obser\'cd 
by  the  children  when  the  song  is  given  with  piano  accompaniment, 
although  it  is  not  necessary  to  follow  them  when  no  piano  is  used.  It 
is  extremely  desirable  that  the  children  should  learn  to  count  e\-ery 
rest  when  singing  with  piano  accompaniment,  and  not  be  wholh- 
dependent  upon  the  teacher  to  know  when  to  begin  singing. 

INTERPRETATION :  Sing  the  song  rather  slowly,  with  a  touch  of  awe  in  the 
tone  quality.  Observe  carefully  the  marks  of  expression,  and  at  the 
end  allow  the  voice  to  die  away,  Uke  the  hooting  of  the  owl  in  the  dis- 
tance. 

The  Race;  Book  Three,  page  17.     Manual,  Vol.  Ill,  page  136. 
THEORY :  The  song  is  in  the  key  of  C  major. 
INTERPRETATION :  This  song  should  be  sung  gently,  and  not  too  quickh'. 

Shepherds  on  the  Hills;  Book  Three,  page  18. 

TONE :  Ascending  and  descending  chromatic  passages  are  found  at 
several  points  in  the  song.  Let  the  pupils  discover  these  places  and 
practice  them  before  sight  reading  the  song.  Note  also  that  the 
song  is  contrapuntal '  in  character,  the  second  voice  answering  the 
first  in  an  independent  imitation. 
INTERPRETATION  :  Siiig  brightly,  but  not  too  quickly.  Independeiicp  and 
freedom  of  the  two  parts  must  be  developed  by  careful  practice. 

iSee  Manual,  Vol.  Ill,  page  116. 


CHAPTER  OUTLINES 


67 


CHAPTER    II.     MELODIES    IN    THE    MELODIC    MINOR    SCALE 
I.   Tone  Drill 

It  will  be  observed  that  the  four  upper  tones  of  the  ascending  melodic 
minor  scale,  mi-fi-si-la,  sound  in  effect  just  like  the  four  upper 
tones  of  the  major  scale,  so-la-ti-do.  The  descending  melodic  minor 
scale  sounds  like  the  natural  nunor  scale.'  The  following  exercise 
should  be  given  careful  practice  : 


fl 


II.    Time  Drill 


While  no  new  time  problems  occur  in  this  chapter,  several  new  meas- 
ure-forms  will  be  found.' 


Two-quarter     (2\ 


measure 


(1)  r 

(2) 
(4)     j; 


Three-quarter 
measure 

(5)  J-  ^r  s 


(S) 


(7)  r 


Four-quarter 
measure 


a) 


(8)     t 


^  ^ 


III.   Theory  Drill 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expression. 

as  they  occur  in  the  songs  of  the  course,  should  be  explained  to 
pupils. 

2.  Double  Sharp.     A  character  (X)  which  indicates  the  pitch  two  half- 

steps  higher  than  the  normal  staff  degree. 
The   children   should  practice   finding   on   the   keyboard   diagram 
the  keys  which   may  be  named  by  u.-^ing  the  t(>rni   "douijle 
sharp." 

3.  Building  major  scales  jn  the  key  of  C  and  in  keys  with  sharp  signa- 

tures, 
(a)  An  explanation  has  already  been  given  of  the  meaning  of  the 
tenn  half-step.     (See  page  58.)     A  step  is  the  sum  df  two 
half-steps. 

'  See  Manual.  Vol.  III.  page  49. 

-As  in  Cliaptcr  I.  ami  also  in  subsequent  chapters,  the  new  measure-forms  foun<l  in  caeh  in- 
dividual song  are  listed  under  the  analysis  of  tliat  song. 


0:5  TEACHER'S   MANUAL 

(6)  The  children  are  to  learn  to  buiki  scales,  basing  them  on  the 
following  fonnula  : 

„     half-step 

step 
6 

step 
5 

step 

4 

half-step 

step 
2 

step 
1 

The  teacher  indicates  the  pitch  upon  which  the  scale  is  to  be  built. 
The  children  write  a  note  for  the  pitch  given  and  then  add  seven 
notes  on  the  successive  degrees  of  the  staff  above  the  given  de- 
gree. A  sign  indicating  whether  the  distance  from  one  pitch 
to  the  next  should  be  a  step  or  half-step  should  l)c  placed  be- 
tween each  of  the  notes  on  the  staff.  The  children  should  then 
place  sharps  where  necessary  to  effect  the  proper-  ai-rangement  of 
steps  and  half-steps.  The  following  keys  should  be  used  :  C, 
G,  D,  A,  E,  B,  F«,  C«. 


^^^^^^^^^ 


4.  Naming  key  signatures.    The  children  should  sing  a  number  of  the 

songs  in  Chapter  I,  in  which  sharps  occur  in  the  signature,  and 

then  determine,  — 
1st.     Whether  the  song  is  major  or  minor. 

2nd.    If  in  the  major  mode,  the  name  of  the  key  in  wliich  it  is 
written.  * 

5.  Building  major  scales  with  flat  signatures.     Using  the  same  formula 

as  before,  the  children  should  build  scales  from  F,  B^,  A*^,  D'', 
G^  and  &. 
They   should   then   sing   songs   in    flat    keys,   naming    the   major 
keys. 

6.  From  the  scale  derive  the  key  signatures  for  all  major  scales. 


CHAPTER  OUTLINES  69 

rV.    Song  Analysis  and  Interpretation 

The  Little  Red  Owl:  Book  Tlnoe,  pajie  20. 

TOXE  :  This  song,  in  the  key  of  B  minor, introduces  tlie  upper  tetraihonl ' 
of  the  melodic  minor  scale.  This  new  tonal  progression  occurs  in 
the  third  measure  ^  of  the  soprano  part,  in  the  fourth  measure  of  the 
alto  part,  and  in  tlie  tenth  measure  of  the  alto  part.  The  tone  drills 
for  the  month  should  be  sufficient  preparation  foi-  tho  now  1on;d  pmh- 
lem  inti-oduce<l  in  this  song. 

TIME  :  Tlic  song  inchidc^s  tho  measure-form,  fovmd  in  tho  Time  Drill  of 
this  chapter,  number  8.  (See  page  67.)  The  change  from  four- 
quartei'  measiu'e  to  three-quarter  measure  will  necessitate  careful 
attention  on  the  part  of  the  pupils. 

theory:  The  song  is  in  the  key  of  B  minor  and  introduces  tlH>  tonal 
progression  of  the  uppei'  tetrachord  of  the  melodic  minor  scale.  This 
new  theoretical  element  is  to  be  taken  as  a  new  tonal  progression  and 
compared  with  so-la-li-do  of  the  inajor  scale.  At  this  point  it  is  not 
necessarj'  to  study  the  inelodic  minor  scale  from  the  theoretical 
standpoint.' 

interpretation:  The  independent  movement  in  the  two  parts  will  re- 
quire that  each  be  thoroughly  mastered.  The  .song  should  bo  sung 
rather  slowly  and  with  a  spirit  of  mysterious  awe. 

Cinderella ;  Book  Three,  page  21.     Manual,  Vol.  Ill,  page  137. 
THEORY  :  The  song  is  in  the  key  of  A  minor. 

INTERPRETATION :  Do  not  siug  slowly,  but  express  in  the  voice  th(>  sadness 
of  the  first  stanza  and  the  brighter  ho]io  of  the  second. 

The  Maypole;  Book  Three,  page  22.     Manual,  Vol.  Ill,  page  138. 
tone:  The  first  measure  offers  a  new  tonal  problem  upon  which  some 
drill  should  be  given,  i.e.,  the  three  upper  tones  of  the  uppei'  tetra- 
chord of  the  ascending  melodic  minor  scale  approached  bj'  a  leap. 
theory:  "Allegretto."     See  Glossary. 
The  song  is  in  the  key  of  E  minor. 
interpretation:  Sing  with  animation,  though  not  too  (|uickly.     The 
song  should  breathe  the  spirit  of  rural  fun. 

The  Frost:  Book  Three,  page  23.     Manual,  Vol.  III.  page  139. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  of 
this  chapter,  number  2.     (See  page  67.) 

•  See  Manual,  Vol.  Ill,  page  7:>. 

2  In  f'ounting  measures,  begin  with  tli<>  first  complete  measure. 


70  TEACHER'S  MANUAL 

THEORY :   The  song  is  in  the  key  of  C-sharp  minor. 
INTERPRETATION :  Siug  rather  slowly,  but  with  spirit. 

In  Autumn;  Book  Three,  page  23.     Manual,  Vol.  Ill,  page  140. 

TONE :     The  next  to  last  measure  presents  a  tonal  succession  which 

should  be  drilled  upon  before  the  song  is  read  by  the  students. 
THEORY :  "  Adagio."     See  Glossary. 

The  song  is  in  the  key  of  B  minor. 
interpretation:    Sing  very  slowly  and  sadly.     This  exquisite  melodic 
gem  is  a  portion  of  an  ancient  aria  attributed  to  the  ill-fated  Init 
romantic  Stradella. 

Summer's  Done;  Book  Three,  page  24.     Manual,  Vol.  Ill,  page  140. 
tone  :  Although  there  are  no  new  tone  problems  in  the  song,  the  fifth 

measure  ^  may  require  some  drill  before  the  song  is  read  by  the  pupils. 
TIME :  The  song  includes  the  measure-form,  found  in  the  Time  Drill  of 

this  chapter,  number  1.     (See  page  67.) 
THEORY :  The  song  is  in  the  key  of  F  minor. 
interpretation  :     Sing  with    breadth  and    enthusiasm.     The  song  is 

beautifully  characteristic  of  the  hills  and  valleys  of  Norway. 

My  Bonny  Pipes;  Book  Three,  page  24.     Manual,  Vol.  Ill,  page  142. 
THEORY :  The  song  is  in  the  key  of  C  minor. 
interpretation  :  Sing  rather  quickly,  but  with  sentiment. 

The  Maid  and  the  Brook ;  Book  Three,  page  25.    Manual,  Vol.  Ill,  page  142, 
theory:  "Andantino."     See  Glossary. 

Beginning  in  the  key  of  B-flat  major,  the  song  ends  in  G  minoi'. 
interpretation  :  Sing  gently  and  not  too  quickly,  with  a  slight  ritard 
in  the  last  few  measures.     The  song  is  a  splendid  example  of  the 
typical  Russian  folk  song. 

At  the  Window;  Book  Three,  page  26.     Manual,  Vol.  Ill,  page  144. 
TONE :  Although  no  new  problems  occur,  there  are  several  places  in  the 

song  which  may  require  drill  before  accurate  sight  reading  can  be 

attempted. 
TIME :  The  song  includes  the  measure-fonns,  found  in  the  Time  Drill 

of  this  chapter,  numbers  3  and  4.     (See  page  67.) 
INTERPRETATION :  Sing  gently,  but  not  too  slowly.     Observe  carefully  the 

marks  of  expression,  and  at  the  words  "It  was  spring,"  and  later 

at  the  word  "bloom,"  build  effective  climaxes. 

'  See  second  footnote,  page  69. 


CHAPTER  OUTLINES  71 

Happy  Autumn  Days;  Book  Throe,  pat^e  27.  Manual,  Vol.  Ill,  page  143. 
THEORY :  Observe  that  this  song  illustrates  the  descending  upper  tetra- 

chord  '  of  the  melodic  minor  scale.  The  song  is  in  the  key  of  G  minor. 
iNTERPRET.\TioN :  Sing  ratlicr  quietly,  hul  with  enthusiasm,  and  witli  a 

slight  ritard  in  the  final  phrase. 

The  Star;  Book  Three,  page  27. 

TLME :  The  song  includes  the  measure-fonns,  found  in  the  Time  Drill 
of  this  chapter,  numbers  5,  G,  and  7.     (See  page  67.) 

THEORY :  The  double  sharp  indicates  a  tone  one  half-step  higher  than  the 
diatonic  scale  tone  indicated  by  the  signature.  As  suggested  in  the 
Theory  Drill  for  the  month,  the  children  should  study  from  the  key- 
board diagram  the  relationships  of  the  double  sharps  to  the  other 
pitches.     The  song  is  in  the  key  of  G-sharp  minor. 

INTERPRETATION :  Sing  the  first  phrase  rather  smoothly,  the  second 
phrase  with  vigor,  the  third  phrase  like  the  first,  and  the  foiu'th 
phrase  with  a  slight  ritard.  The  second  and  third  stanzas  should  be 
interpreted  according  to  the  text. 

'  See  Manual,  Vol.  Ill,  pa^e  73. 


n. 


TEACHER'S   MANUAL 

CHAPTER   III.     THE   EIGHTH-NOTE   BEAT 

Tone  Drill 

There  are  no  new  tone  problems  in  the  songs  of  this  chapter. 

Time  Drill.     The  Eighth-Note  Beat. 

The  study  of  the  following  measure-forms  should  be  taken  in  connec- 
tion with  the  study  of  the  theory  of  the  Eighth-Note  Beat,  as  given 
in  the  section  immediately  following,  on  page  73. 


Two-eighth     /2^ 
measure       \  8  ^ 

1          Three-eighth 
'             measure 

(1) 

Six-eighth  measure     (^j 

/1^            m  m  m  m 
(1)           ^  ^  ^  ^ 

(5) 

t 

(25) 

m      *     p         1 

1        >     1 

(2)  im 

(6) 

r 

C 

(26) 

r    i^    >    1^  u* 

(3)          J  •        5 

(7) 

^  r 

(27) 

u<  ^      ^  ^  ^ 

(4)       C    ^5 

(8) 

m      m 

T 

(28) 

p  m  m      P  m  ■       • 

(9) 

» 

T 

(29) 

:ir  J  r 

(10) 

:  ^ 

^ 

(30) 

r-      -'i-u' 

(11) 

:  ^ 

T 

(31) 

r  :  r    55 

(12) 

J 

(32) 

r  ^^r    li 

(13) 

5?C 

c 

(33) 

f  F  p  *  • 
1    1^  •  *»  -» 

(14) 

£s'r 

(34) 

r- 

(15) 

*m  m 

1 

(35) 

^        m       m  • 

1       k     1 

(16) 

^      S  5 

'f't 

(36) 

r  c  '    : 

(17) 

1 

Zi 

(37) 

r-     r    ^ 

(18) 

m   m  m  m 

(19) 

•  •        * 

c 

(20) 

J     5 

?s 

(21) 

m 
m  .  m 

(22) 

k      ^    g 

(23) 

f      ^» 

"1 

(24) 

C^  5 

P 
k 

III.   Theory  Drill 

1.    The  meaning  of  the  characters  of  notation  and  marks  of  expression, 
as  they  occur  in  the  songs  of  the  course,  should  be  explained. 


CHAPTER  OUTLINES  73 

The  Eighth-Note  Beat.  In  this  fonii  of  measure,  the  beat  is  repre- 
sented by  an  eighth-note.  A  sound  two  beats  long  would  be 
represented  by  a  quarter-note,  two  equal  tones  to  a  beat  by 
sixteenth-notes,  and  other  longer  or  shorter  tones  in  proportion. 
The  kind  of  note  employed  to  represent  a  beat  in  nowise  affects 
the  quickness  or  .slowness  of  the  beat  successions,  i.e.  the  tempo 
of  the  composition. 
Drills  on  the  Eighth-Note  Beat  may  be  of  two  kinds : 

(a)  Time  drill  with  the  measure-forms  as  given  on  page  72. 
(6)  Written  drill,  in  which  the  children  transcribe  given  measures 
or  portions  of  songs  from  the  quarter-note  beat  into  the 
eighth-note  beat,  or  from  the  eighth-note  beat  into  the 
quarter-note  beat,  making  the  corresponding  changes  in 
note  values. 

Building  Minor  Scales.  The  minor  scale  appears  in  three  different 
foiTOs,  known  as  the  natural  fonn  (sometimes  called  the 
primitive  fomi),  the  harmonic  fomi,  and  the  melodic  fomi. 
The  first  four  tones  of  the  three  forms  of  the  minor  scale  are 
the  same  and  the  difference  occurs  only  in  the  upper  four  tones. 
These  four-tone  divisions  of  the  scale  are  called  tetrachords. 

(a)  The  natural  minor  scale  is  built  according  to  the  following 
formula  :     Lower  tetrachord,  la-ti-do-re. 
Upper  tetrachord,  mi-fa-so-la. 
The  descending  scale  follows  the  same  arrangement  of  inter- 
vals.    (See  page  49.) 

(6)  The  harmonic  minor  scale  is  built  according  to  the  following 
formula  :  Lower  tetrachord,  la-ti-do-re. 
Upper  tetrachord,  mi-fa-si-la. 
Note  that  the  seventh  tone  of  the  scale  is  sharped,  si  instead 
of  so,  and  forms  a  leading  tone,  one  half-step  lower  than 
the  key  note.  The  descending  scale  follows  the  same  ar- 
rangement of  intervals.     (See  page  50.) 

(c)   The  melodic  minor  scale  is  built  according  to  the  following 
formula  :     Lower  tetrachord,  la-ti-do-re. 
Upper  tetrachord, 
in  ascending  passages,    mi-fi-si-la  ; 
in  descending  passages,  la-so-fa-mi. 
Observe  that  the  upper  tetrachord  differs  in  ascending  and 
descending  progressions.     (See  page  67.) 


T.  M.  Viil.  Ill 


74  TEACHERS    MAXUAL 

The  upper  tetrachonl  of  the  ascending  melodic  minor  scale  may  he 
written  in  four  different  ways  : 

(1)  By  the  use  of  two  sharps,  as  in  the  minor  keys  of  A,  E,  B,  F*, 

and  C*. 

(2)  By  the  use  of  two  naturals,  as  in  the  minor  keys  of  (\  F,  B'',  E'', 

and  A^. 

(3)  By  the  use  of  a  natural  and  a  sliarp,  as  in  the  minor  keys  of  D 

and  G. 

(4)  By  the  use  of  a  sharp  and  a  double  sharp,  as  in  the  minoi-  keys 

of  G«  and  D». 
A  fifth  way  also  is  possible ;    namely,  by  the  use  of  two  double 
sharps,  as  in  the  key  of  A*  minor,  but  this  key  is  so  rarely  em- 
ployed that  its  study  is  hardly  worth  while  at  this  point. 

Four  forms  of  upper  tetrachord  in  the  (iscending  melodic  minor  sfale. 

A  minor  C  minor  D  minor  G-sharp  minor 


IV.    Song  Analysis  and  Interpretation 

The  Remembrance  Bouquet;  Book  Three,  page  28.     Manual,   Yn].   Ill, 

page  14G. 
time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill  af 

this  chapter,  numbers  5,  7,  8,  11,  and  12.     (See  page  72.) 
THEORY :    The  theory  of  the  eighth-note  beat  has  been  presented  in  the 

Theory  Drill  of  the  chapter.     The  song  is  in  the  key  of  F  minoi-. 
INTERPRETATION  :   Sing  with  a  well-marked  and  steady  rhythmic  swing. 

The  Gypsy  Dance;  Book  Three,  page  28.     Manual,  XoX.  Ill,  page  147. 
TONE :    Observe  the  rather  unusual  interval  in  the  ninth  and  thirteenth 

measures,  the  skip  from  si  to  ja.     This  interval  is  characteristic  of 

Gypsy  music. 
TIME :    The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  6,  13,  16,  and  18.     (See  page  72.J 
THEORY :  The  song  is  in  the  key  of  G  minor. 
INTERPRETATION :  Sing  rather  slowly  and  gracefully. 

Lovely  Night;  Book  Three,  page  29. 

TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  9,  17,  19,  20,  21,  and  23.     (See  page  72.) 
INTERPRETATION  :  Sing  slowly  and  smoothly. 


CHAPTKR  orTLTXES  75 

So  Ignorant;   Book  Three,  page  30.     Manual,  Vol.  Ill,  page  148. 

time:    The  song  includes  the  measure- forms,  found  in  the  Tune  Drill 

for  this  chapter,  numbers  1,  2,  3,  and  4.     (Spe  page  72.) 
INTERPRETATION :  Sing  the  words  very  distinctly.      The  tempo  should  be 
as  rapid  as  possible,  consistent  with  clear  pronunciation  of  the  words. 

Prince  Baby;  Book  Three,  page  30.     Manual,  \'ol.  Ill,  page  148. 

TIME ;    The  song  includes  the  measure-forms,  found  in  the  Time  Diill 
for  this  chapter,  numbers  25,  26,  27,  28,  30,  .33,  34,  35,  36,  and  37. 
(See  page  72.) 
ixTERPRETATioN  :   Sing  slowly  and  gently. 

Dancing  Sony  in  May;  Book  Three,  page  31.     Manual,  Vol.  Ill,  page  150. 

time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  10  and  24.     (See  page  72.) 

iNTERPRET.vTioN :  Sing  brightly  and  buoyantly,  with  well-marked  cli- 
maxes at  the  points  indicated  by  the  expression  marks  of  the  song. 

Well  Met,  Well  Met;  Book  Three,  page  32.     Manual,  Vol.  Ill,  page  152. 
TIME :    The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  nmnbers  29,  31,  and  32.     (See  page  72.) 
theory:  "  Allegretto  grazioso. "     See  Glossary. 

The  song  is  in  the  key  of  E  minor. 
interpretation:    Sing  rather  slowly,  hut  witli  graceful  rhythm. 

Mandolin  Song;    Book  Three,  page  32.     Manual,  Vol.  Ill,  page  153. 
time:   The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 

this  chapter,  number  22.     (See  page  72.) 
interpretation:   Sing  gayly,  with  well-marked  rhythm. 

The  Passing  of  Suni/ner;    Book  Three,  i)age  33.     Manual,  Vol.  Ill,  page 
154. 
TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill  for 

this  chapter,  numbers  14  and  15.     (See  page  72.) 
theory:    "  Allegretto  patetico."  i 

"  AUarg.  con  espress."  }  See  Glossary, 
"  Lento."  ' 

The  song  is  in  the  key  of  F  minor. 
INTERPRETATION  :  Siiig  sadly  and  not  too  quickly,  observing  the  marks  of 
expression. 


76  TEACHER'S   MAN'UAL 

CHAPTER    IV.      THE    DOTTED    QUARTER  NOTE    BEAT;    MORE    ADVANCED 

STUDIES 

I.   Tone  Drill 

There  are  no  new  tone  problems  in  the  songs  of  this  chapter. 

II.  Time  Drill.  The  Dotted  Quarter-Note  Beat ;  More  Advanced  Studies. 
Only  two  new  divisions  of  the  beat  occur  in  the  songs  of  this  chapter 
(  k  S  *  ^^^  r  5  5)'  although  in  combination  with  the  rhythms 
previously  studied  these  offer  a  number  of  new  measure-forms  for  drill. 
The  new  beat  groups  should  be  given  as  patterns  by  the  teacher,  and 
the  patterns  should  be  imitated  by  the  children,  singing  the  descend- 
ing scale,  until  the  rhythm  is  mastered.  The  class  and  individuals 
should  then  drill  upon  the  measure-forms  outlined  below.  The 
children  should  be  taught  to  separate  into  groups  instantaneously  the 
notes  belonging  to  each  beat  in  the  measure.  Good  sight  reading 
involves  a  proper  relating  of  the  three  rhythmic  elements,  the  beat, 
the  measure,  and  the  phrase. 


Six-eighth  measure     f  ^  j 


(1) 

(2) 
(3) 

^  •  •  • 

—  y 

c  g: 

r     : 

U  1^     ^ 

(4) 

^  5^ 

(5) 

<'  •    2  1* 

J"^    : 

(6)     r  •       :. 

-•r 

(7)  J  r     c  :• 

(8)  r     gjr 

(9)  :  r      1. 

5 

(10)     J  r      r 

m  m 

m.   Theory  Drill 

The  meaning  of  the  characters  of  notation  and  marks  of  expression,  as 
they  occur  in  the  songs  of  the  course,  should  be  explained  to  the  pupils. 

IV.    Song  Analysis  and  Interpretation 

Halloween;    Book  Three,  page  .34.     Manual,  Vol.  Ill,  page  156. 

TIME :    The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  1,  5,  and  7. 
INTERPRETATION  I  Do  uot  sing  too  quickly,  but  keep  the  swinging  of  the 
rhythm  well  defined. 


See  Glossary. 


CHAPTER  OUTLINES  77 

The  Huntsmen  (Threo-part  Round)  ;  Book  Three,  page  34. 
time:    The  .song  include.s  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  8  and  10.     (See  page  70.) 
INTERPRETATION-:   Siug  gayly  and  with  enthusiasm. 

Jingle,  Jingle,  Jinglely,  Jing;   Book  Three,  page  35.     Manual,  Vol.  Ill, 
page  157. 
time:   The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 

this  chapter,  immber  3.     (See  page  76.) 
THEORY :  "  Allegro  non  troppo." 

"Accelerando." 
INTERPRET.4TIOX :  Sing  with  joyous  abandon. 

The  Listening  Woods;   Book  Three,  page  36.     Manual,  Vol.  Ill,  page  158. 
TIME :  The  song  includes  the  measure-forms,  found  in  the  Tune  Drill  for 

this  chapter,  numbers  2  and  4.     (See  page  76.) 
iNTERPRETATiox :   Slug  rather  slowly  and  with  sentiment. 

Theme;  Book  Three,  page  36. 
TIME :   The  theme  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  6  and  9.     (See  page  76.) 
theory:  "Vivace."     See  Glossary. 

The  theme  is  in  the  key  of  A  major. 

Come  Lassies  and  Lads:  Book  Three,  page  37.    Manual,  Vol.  Ill,  page  159. 
INTERPRETATION  :  This  is  OHC  of  the  best  examples  of  the  old  English  folk 
song.     It  should  be  sung  brightly  and  with  well-marked  rhythmic 
swing. 


78  TEACIIEU'.S    MAM'AL 

CHAPTER   V.     MODULATIONS   TO    NEARLY-RELATED   KEYS 

I.   Tone  Drill 

1.    Studies  in  Modulation. 

(a)  Sound  various  tones  on  the  chromatic  pitch-pipe ;  hiiyc  the 
students  call  the  given  tone  ])y  one  of  tlie  syllal)les  of  the 
scale  and  sing  the  descending  scale  from  the  given  tone  to 
do.  An  exception  should  be  made  in  the  case  of  ti,  when 
the  succession  ti-do  is  to  be  sung. 

(6)  Sound  any  pitch  on  the  chromatic  pitchpipe ;  call  that  sound 
do,  and  have  the  children  sing  up  or  down  the  scale  of  that 
tone  to  any  other  tone  of  the  scale  designated  by  the 
teacher.  While  sustaining  this  tone,  change  the  syllable 
to  some  other  scale  syllable  as  directed  by  the  teacher. 
The  sustained  tone  is  called  the  "bridge  tone."  From  the 
new  syllable  sing  the  descending  scale  to  do,  as  directed  in 
drill  No.  1,  step  a,  thus  : 


A 
do      re    mi    fa     so     la  (bridge  tone)  fa    mi     re     do 

In  the  following  four  diagrams,  the  column  to  the  left  is  the  major 
or  minor  scale  along  which  the  students  are  to  sing  from  a  given 
pitch  according  to  drill  No.  1,  step  b.  The  column  to  the  right 
is  the  scale  of  the  new  key  to  which  the  children  modulate.  The 
bridge-tone  may  be  made  from  any  tone  of  the  first  scale  to  any 
tone  of  the  second  in  any  one  of  the  four  given  diagrams.  While 
■by  means  of  these  drills  it  may  be  possible  to  go  from  any  key  to 
almost  every  other  key,  the  teacher  is  advised  to  practice  only 
those  modulations  which  occur  in  the  songs  of  the  book.  (See 
letters  above  the  staff  indicating  the  changes  of  keys  in  the  songs 
of  Chapter  V.) 

(a)        do  do 

ti  ti-do 

la  la-so-fa-mi-re-do 

so  so-fa-mi-re-do 

fa  fa-mi-re-do 

mi  mi-re-do 

re  re-do 

do  do 


CHAPTER   OUTLINES 


79 


(b) 


(.c) 


(d) 


do 

la 

t: 

si-  la  or  so-fa-mi-re-do-ti-la 

la 

fi-si-la  or  fa-mi-re-do-ti-la 

so 

mi-re-do-ti-la 

fa 

re-do-ti-la 

mi 

do-ti-la 

re 

ti-la 

do 

la 

la 

do 

si  or  so 

ti-do 

fi  ovfa 

la-so-fa-mi-re-do 

mi 

so-fa-mi-re-do 

re 

fa-mi-re-do 

do 

mi-re-do 

ti 

re-do 

la 

do 

la 

la 

si  or  so 

si-la  or  so-fa-mi-re-do-ti-la 

fi  or  fa 

fi-si-la  or  fa-mi-re-do-ti-la 

mi 

mi-re-do-ti-la 

re 

re-do-ti-la 

do 

do-ti-la 

ti 

ti-la 

la 

la 

II.   Time  Drill 


There  are  no  new  time  problems  in  the  songs  of  this  chapter,  although 
a  nmnber  of  new  measure-forms  occur,  as  given  l^elow. 


Three-quarter  measure 


(1) 
(2) 
(3) 
(4) 
(5) 
(6) 
(7) 
(8) 


1/  1/ 


m 
m 


r 


(D 


0  0 

0     0 


0    0 


^ 


^ 


Four 
m( 


-quarter  /4\ 
'asure        \4/ 


(9) 
(lOj 


0  0 


1^  ''^ 


u  u 


Three-eighth  /3\ 
measure      VS  / 


(11) 
(12) 


^  JJ^ 


^^^:?  j;^ 


80  TEACHER'S   MANUAL 

Four-eighth  measure     f  o  )  Six-eighth  measure     i  r  i 

(13)  :  J  J  J  (18)  ^ LTir 5 

(14)  :  £a' :  5  (19)  J  -^  c  cj*  5 

(15)  yyo  5 

(16)     t'i'J       •' 

(17)  r  5  5  J    55 

m.   Theory  Drill 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expression, 

as  they  occur  in  the  songs  of  the  course,  should  be  explained  to 
the  pupils. 

2.  The  word  "modulation"  means  a  change  of  key  occurring  in  the 

course  of  a  composition.     In  some  instances  the  passage  in  the 
new  key  is  very  brief,  while  in  others  it  is  longer.     In  some  cases 
the  modulation  is  indicated  by  a  change  of  key  signature,  while 
in  other  cases  the  modulation  is  indicated  by  sharps  or  flats 
on  the  staff.     It  will  be  noted  by  this  that  the  sharps  or  flats 
occurring  in  the  course  of  a  composition  may  produce  two 
effects : 
(a)  The  introduction  of  chromatic  tones  for  tonal  variety. 
(6)   The  change  of  the  key  of  the  piece. 
This  chapter  includes  songs  illustrating  both  methods  of  modulation. 
Changes  of  key  are  indicated  by  letters,  printed  above  the  staff.     A 
capital  letter  indicates  a  major  key;  a  small  letter  indicates  a  minor 
key. 
In  applying  syllables,  the  children  are  to  sing  the  syllables  of  the  key 
indicated  by  the  letter.     To  do  this  it  will  be  necessary  for  them  to 
be. able  promptly  to  change  the  key  according  to  the  "bridge  tone." 
A  bridge  tone  is  that  tone  of  a  composition  which  belongs  to  both 
keys,  the  one  from  which  the  composition  is  modulating,  and  the  new 
key  into  which  the  piece  is  progressing.     For  example,  in  "Faithful 
Friends,"  page  38,  the  note  G  over  the  word  "Bring,"  first  measure 
of  the  second  Une,  is  the  bridge  tone.     We  sing  this  tone  as  so  in  the 
key  that  we  are  leaving,  and  as  do  in  the  key  to  which  we  are  going. 
The  children  must  learn  to  pronounce  the  bridge  tone  properly.     To 
do  this  the  voices  should  glide  from  the  so  into  the  do,  so-o-do. 
Practice  in   bridge    tones   is  given    under  the  tonal   drills   for   this 
month. 


CHAPTER  OUTLINES  81 

Keys  are  said  to  be  "nearly  related"  when  most  of  the  tono5  of  the  two 
scales  are  found  in  both  keys.  The  smaller  the  ditTerence  in  the 
number  of  sharps  or  flats  in  the  two  scales,  the  more  nearly  the  keys 
are  related ;  the  larger  the  difference,  the  less  nearly  are  the  keys 
related.  For  example,  the  key  of  (J  is  nearlj^  related  to  the  key  of  D, 
because  G  has  one  sharp  and  D  has  only  two  sharps.  The  scale  of 
G  and  the  scale  of  E  are  less  nearly  related,  because  E  has  four  sharps. 
The  modulations  in  this  chapter  are  all  to  nearly-related  keys. 

IV.    Song  Analysis  and  Interpretation 

Faithful  Friends;  Book  Three,  page  38.     Manual,  Vol.  Ill,  page  155. 
TONE :  The  modulation  in  the  song  has  been  explained  in  the  Tone  Drill 

of  the  chapter,  which  should  be  adequate  preparation  for  the  sight 

reading  of  the  song. 
THEORY :  Under  the  Theory  Drill  for  the  chapter  an  explanation  is  given 

of  how  to  treat  the  song. 
INTERPRETATION :  Siiig  slowly  and  smoothly. 

Clang!  Clang!  Clang!     Book  Three,  page  .38.     Manual,  Vol.  Ill,  page  160. 
TIME :   The  song  includes  the  measure-fonn,  found  in  the  Time  Drill  for 

this  chapter,  number  9.     (See  page  79.) 
theory:   Observe  the  "  Da  capo  "  and  "  Fine."     See  Glossary. 
INTERPRETATION :    Sing  with  strong  accentuation.     The  second  part  of 

the  song,  in  contrast  to  the  first,  should  be  sung  more  smoothly. 

On  the  Ling,  Ho!     Book  Three,  page  39.     Manual,  Vol.  Ill,  i)age  161. 
TIME :   The  song  includes  the  measure-fonn,  found  in  the  Time  Drill  for 

this  chapter,  number  1.     (See  page  79.) 
THEORY :  The  song  is  in  the  key  of  E  major. 
iNTERPRET.ATioN :   Sing  rather  quickly  and  joyously. 

Naples;   Book  Three,  page  40.     Manual,  Vol.  Ill,  page  162. 

TIME :   The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  11  and  12.  (See  page  79.) 
THEORY :  Observe  the  "  Da  capo  (D.  C.)  "  and  "  Fine." 
interpretation:    Sing  in  rather  slow  waltz  time,  brightly  and  with  a 

well-marked  rallentando  just  before  the  "  Da  capo." 

The  SnowflaJies;   Book  Three,  page  41.     Manual,  Vol.  Ill,  page  164. 
interpretation  :   Sing  brightly,  with  well-marked  rhythm. 

Near  Autumn;   Book  Three,  page  42.     Manual,  Vol.  Ill,  page  163. 
INTERPRETATION :   Sing  rather  slowly,  but  rhythmically. 


82  TEACHER'S  MANUAL 

'The  Month  of  December :    Book  Three,  page  4'2. 
time:   The  song  includes  the  measure-fornis,  louud  in  tlie  Tunc  Drill 

for  this  chapter,  numbers  2,  3,  4,  5,  (J,  7,  and  8.     (See  page  79.) 
INTERPRETATION :    Sing  rather  slowly,  but  steadily.     Call  the  attention 

of  the  pupils  to  the  fact  that  the  phrase  in  B-flat  imitates  the  first  jiart 

of  the  previous  phrase  in  F. 

Ye  Olden  Christmas;  Book  Three,  page  43.     ^Manual,  ^'ol.  III,  page  105. 
theory:  "Allegro  leggiero."     See  Cllossar,y. 

The  .song  is  in  the  key  of  A  minor. 
interpretation:   Sing  rather  quietly  and  not  too  .slowly. 

Tree-Top  Mornings;  Book  Three,  page  44.     Manual,  Vol.  Ill,  page  IGG. 
theory:  "Vivace."     See  Glos.sary. 

The  song  is  in  the  key  of  A-flat  major. 
interpretation  :  A  strong  contrast  should  be  drawn  between  the  first 
phrase  with  its  repetition  at  the  end  of  the  song  and  the  phrases  that 
intervene.  The  children  should  be  led  into  the  spirit  of  the  song  .so 
that  they  will  appreciate  and  sing  with  enthusiasm  its  contrasting 
portions. 

Robin  Goodfellow;  Book  Three,  page  45.     Manual,  Vol.  Ill,  jiage  167. 
interpretation:     This  fine  example  of  the  ancient  English  folk  .song 
should  be  sung  rather  quickly  and  steadily  throughout. 

Naughty  Lisette;    Book  Three,  page  46.     Manual,  Vol.  Ill,  page  170. 
interpretation  :    Follow  the  changing  sentiment  of  the  words  and  the 
expression  marks. 

Sing  Together  (Three-part  Round) ;  Book  Three,  page  46. 
interpretation  :     Sing  brightly  and  rather  quickly. 

The  Fisherman's  Prayer;   Book  Three,  page  47.     Manual,  Vol.  Ill,  page 
168. 
theory:    "  Poco  Allegretto."     See  Cdossary. 
interpretation  :   Sing  quietly  and  rather  slowly. 

A  Hymn:    Book  Three,  page  48.     Manual,  Vol.  Ill,  page  172. 

time  :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  18  and  19.     (See  page  80.) 

THEORY :  In  the  study  of  this  song,  care  should  be  taken  that  the  chil- 
dren do  not  become  confused  in  reading  the  two  parts.  The  song  is 
in  the  key  of  G-flat  major. 


CHAPTER  OUTLINES  S3 

ixTERPRETATioN :  Obsoi'vc  carofully  tho  nile  that  ascoiKling  passages 
should  be  sung  witli  a  crescemlo  aiitl  descending  passages  should  l)e 
sung  with  a  decrescendo.     Sing  rather  slowly  and  smoothly. 

The  Dance  of  the  Fairies :  Jiook  Thi'ee,  i)age  4'J.    Manual,  \'ol.  Ill,  i)age  171. 
time:    The  song  includes  the  measure-fonns,  found  in  the  Time  ])i'ill 

for  this  chapter,  nunil)ers  13,  14,  15,  16,  and  17.     (See  page  80.) 
theory:   Beginning  in  the  key  of  B  minor,  a  modulation  to  th<>  key  of 

B  major  is  effecteil  bj-  a  change  of  key  signatures. 

"  Tempo  di  Yalse."  1  „       _,, 

,,  ,^.       ,,  See  Glossary. 

INTERPRETATION :  The  first  part  of  the  song  should  be  sung  witli  a  broad 
waltz  rhythm  and  the  second  part  very  rapidly  and  delicately. 

The  Seven Sivan  Ladies ;  BookThree,  page  50.  Manual,  \'ol.  Ill,  i)age  174. 
theory:  Observe  that  in  this  .song  the  modulations  aie  indicated  by 
changes  of  key  signatures.  The  song  begins  in  the  key  of  A  minor, 
modulates  to  the  key  of  A  major,  and  later  returns  to  the  key  of  .V 
minor.  Note  that  in  this  latter  modulation  the  change  of  key  is  indi- 
cated by  a  signature  of  three  naturals,  which  cancel  the  effect  of  the 
three  sharps  in  the  signature  of  the  preceding  portion  of  the  song. 
INTERPRETATION :  As  indicated,  the  song  should  be  sung  sadly  but  not 
slowly.  Lead  the  chikli-en  to  see  the  meaning  of  the  text  of  this 
song  and  to  sing  accordingly. 

A  Tree-Top  Duet;    Book  Three,  page  51.     Manual,  \'o\.  Ill,  page  176. 
time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  of 

this  chapter,  number  10.     (See  page  79.) 
theory:  "Animato." 
"Doloroso." 
"Poco  piu  lento." 
"Moltoritardando." 
interpretation:  Follow  the  marks  of  interpretation  and  the  meaning 
of  the  text.     The  song  is  an  excellent  drill  in  varying  tone  quaUty 
and  expression. 


See  Glossary. 


S4  TEACHER'S   MANUAL 

CHAPTER   VI.     THE   HALF-NOTE   BEAT 
I.   Tone  Drill 

There  are  no  new  toiie  problems  in  the  songs  of  this  chapter. 

II.   Time  Drill.     The  Half-Note  Beat. 

The  study  of  the  following  ineasure-fomis  should  be  taken  in  connec- 
tion with  the  study  of  the  theory  of  the  Half-Note  Beat,  as  given 
below. 


Two-half      /2\ 
measure      \2  / 

Three-half  measure     i^\ 

Four-half 

measure     ( 

(1)  -^   r 

(7) 

P 

1 

r   r 

(15) 

P 

r  r  "^ 

(2)    ^ 

(8) 

1 

o 

(16) 

a 

r  r 

(3)  r   r  r 

(9) 

^  . 

(17) 

t=3 

c 

(i)  r  r  r  r 

(10) 

r  r 

r  r  r  r 

(18) 

£?  . 

\ 

(5)  r-     r 

(11) 

1 

r  r  r 

(19) 

li^ii 

(6)  r  r    r 

(12j 

1 

r-     r 

(20) 

f=' 

0   CZ'     O 

\    1 

(13) 

1        u* 

r  r  r  r 

(21) 

(=> 

r- 

(14) 

r  r  nr-  jr 

(1) 


r 


III.    Theory  DriU 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expression, 

as  they  occur  in  the  songs  of  the  course,  should  be  explained. 

2.  The  Half-Note  Beat.     In  this  fonn  of  measure  the  beat  is  repre- 

sented by  a  half-note.     A  sound  two  beats  long  would  be  repre- 
sented by  a  whole-note,  two  equal  tones  to  a  beat  by  quarter- 
notes,  and  other  longer  or  shorter  tones  in  proportion.     The 
kind  of  note  employed  to  represent  a  beat  in  nowise  affects  the 
quickness  or  slowness  of  the  beat  succession,  i.e.  the  tempo  of 
the  composition.      In  music  of  a  solemn  character,  such  as 
hymns,  the  half-note  beat  is  often  employed. 
Drills  on  the  Half-Note  Beat  may  be  of  two  kinds : 
(a)  Time  drill  with  the  measure-forms,  as  given  above. 
(6)  Written  drill,  in  which  the  children  transcribe  given  measures 
or  portions  of   songs  from  the   quarter-note    beat  or  the 
eighth-note  beat  into  the  half-note  beat,  or  from  the  half- 
note  beat  into  one  of  the  other  note  units,  making  the  cor- 
responding changes  in  note  values. 


CHAPTER  OUTLINES  85 

IV.    Song  Analysis  and  Interpretation 

Nalional  Hymn;    Book  Three,  page  52.     Manual,  Vol.  Ill,  page  177. 
time:  The  song  ineliuies  the  nieasure-foniis,  found  in  the  Time  Drill 
for  this  chapter,  numbers  15,  l(j,  17,  18,  19,  20,  and  21.     (See  page 
84.) 
INTERPRETATION :  Sing  with  broad,  well-marked  rhythm. 

Evening  Hymn;  Book  Three,  page  52.     Manual,  Vol.  Ill,  page  173. 
time:   The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbci-s  7  and  9. 
INTERPRETATION :  Sing  slowly  and  steadily. 

Lead,  Kindly  Light;  Book  Three,  page  53.     Manual,  Vol.  Ill,  page  17S. 

TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  8,  10,  11,  12,  13,  and  14. 

INTERPRETATION :  This  familiar  hymn  offers  quite  a  few  difficulties  in 
interpretation.  The  different  stanzas  require  breathing  points  at 
different  places.  The  children  should  be  le<l  to  observe  the  meaning 
of  the  text  and  to  breathe  according  to  the  proper  rhetorical  divisions 
of  the  words. 

Father  and  Friend;   Book  Three,  page  54.     Manual,  Vol.  Ill,  page  179. 
TIME :    The  song  includes  the  measure-fonns,  found  in  the  Time  Drill 

for  this  chapter,  numbers  1,  2,  3,  4,  5,  and  (5. 
theory:   The  song  is  in  the  key  of  D-flat  major. 
INTERPRETATION  :   Siug  with  broad,  flowing  rhj-thm. 


S6  TEAClIKirs    .MAMAL 

CHAPTER    VII.     MORE    ADVANCED    SONG    FORMS 

I.    Tone  Drill 

There  are  no  new  tone  problems  iu  llie  songs  of  this  chai)ter. 

II.   Time  Drill 

There  are  no  new  time  problems  in  the  songs  of  this  chapter.     The 
new  measure-form  is: 


Two-quarter  measure 


'(1) 


m    m    m 
k    •    • 


III.   Theory  Drill 

1.  The  meaning  of  the  characters  and  marks  of  expression,  as  they 

occur  in  the  songs  of  the  course,  should  be  explained  to  the  pupils. 

2.  More  Advanced  Song  Forms. 

The  essential  elements  in  the  fonn  (A  any  art  are  unity  and  A-ariety, 
and  good  form  results  from  a  proper  balance  of  these  two  elements. 
Unity  is  essential  for  intelligibility,  variety  for  sustaining  interest ; 
unity  is  secured  through  repetition,  variety  through  contrast. 

These  art  principles  find  expression  in  the  simple  songs  of  childhood 
as  truly  as  in  the  larger  works  of  the  masters. 

The  purpose  of  the  study  of  form  in  this  course  is  to  lead  the  chil- 
dren to  a  closer  observation  of  the  principle  of  unity  as  expressed 
by  the  repetition  of  portions  of  the  song  they  are  studying,  and  of 
the  principle  of  variety  as  expressed  in  the  modification  of  recur- 
ring ideas  and  in  contrasted  ideas. 

In  Book  One,  much  emphasis  was  placed  upon  the  study  of  the  sim- 
pler elements  of  form,  where  the  object  was  the  dcA-elopment  of  a 
vocabulary  of  musical  ideas  as  expressed  by  figures,  motives,  and 
phrases.  In  Book  Two  the  object  was  further  to  extend  the  child's 
power  to  follow  the  development  of  the  composer's  idea  through 
the  analysis  of  songs  from  the  standpoint  of  phrase  repetition  and 
contrast.  In  some  instances  the  phrase  repetitions  were  found  to 
be  literal,  in  others,  varied. 

In  their  study  of  song  analysis,  the  children  were  taught  to  designate 
the  phrases  by  letters.  The  first  phrase  was  called  a,  and  the 
literal  recurrences  of  that  phrase  were  called  by  the  same  letter,  c. 
A  recurrence  of  the  phrase,  which  differed  in  some  respects  but 
nevertheless  left  the  phrase  clear  as  to  its  identity,  was  called 
a-modified    (a')  ;    a   second   recurrence   difTering   still    otherwise 


CIIAPTKR   orriJXES  87 

was  called  a",  etc.  The  other  plirases  of  the  sonp;  in  tlieir  order 
were  named,  b,  c,  d,  etc. ;  the  repetitions  were  indicated  l)y  a  repe- 
tition of  the  letter  and  the  variations  by  modifying  the  letters. 
This  same  plan  i  •  followed  in  Hook  Three. 
In  Book  Two,  emphasis  was  placet!  upon  the  element  of  unity  as  ex- 
pressed in  phrase  repetitions,  both  literal  and  modified.  In  the 
study  of  modified  phrases  tiie  purpose  was  to  disco\-er  points  of 
similarity  with  the  previous  appearance  of  the  i)hrase.  In  Hook 
Three,  on  the  other  hand,  emphasis  is  to  be  placed  not  only  ujjon 
points  of  similarity  in  the  different  portions  of  the  song,  hut  more 
particularly  upon  the  means  tlirough  which  the  composer  secures 
variety.  This  will  lead  the  students  to  the  con.sideration  of  the 
many  different  types  of  phrase  modification. 

1.  Ornamental  t(mes.     See  "Kathleen  .\roon." 

2.  Substitution  of  new  motives,  figures,  or  single  notes.     See 

"Cossack  Song." 

3.  Borrowing   motives    from    j)revious    j)hrases.      See    "The 

Singers  of  the  Sea." 

4.  Change  of  key.     See  "A  Word." 

5.  Change  of  mode.     See  "Tlie  Nightingale." 

6.  Sequential  repetition.     See  "The  Fountain  and  the  Birds." 

7.  Inverted  imitation.     See  "The  Old  Apple  Tree." 
S.    Transposition.     See  "Back  of  the  Bread." 

A  study  of  the  analyses  of  the  songs  of  Chapter  ^TI  will  make  clear 
the  illustrations  of  these  several  means  for  phrase  modification, 
and  will  also  serve  to  prepare  the  teachers  and  students  to  analj-ze 
the  songs  in  the  .subsetjuent  chajiters  of  Book  Three.  New 
features  of  this  study  will  be  located  in  the  analyses  of  these  songs 
as  they  occur  in  the  course.  It  will  be  observed  that  ])hrase  analy- 
sis is  bj'  no  means  an  exact  matter,  but  that  mucli  allowance  may 
l)e  made  for  differences  of  opinion. 

IV.    Song  Analysis  and  Interpretation 

Kathleen  Aroon;   Book  Three,  page  55.     Manual,  Vol.  Ill,  page  180. 
THEORY :  The  analysis  of  this  song  by  phrases  is  as  follows  :   a.  b,  a.  h,  c, 

c',  d,  e.      The  means  for  modifying  jihrase  c  will  be  found  in  the 

use  of  an  ornamental  tone  on  the  third  beat  of  the  first  measure  of 

phrase  c'. 
interpretation:    Sing  slowly  and  sadly,  observing  carefully  the  iii;uks 

of  expression.     The  hold  in  the  fourth  staff  sliould  be  ajiproached 

by  a  ritard. 


88  TEACHER'S   MANUAL    ■ 

White  Sand  and  Gray  (Three-part  Round) ;   Book  Three,  page  55. 
THEORY :  The  song  needs  no  explanation. 
INTERPRETATION :  Sing  rather  quickly. 

Cossack  Song ;    Book  Three,  page  56.     Manual,  Vol.  Ill,  page  ISO. 

THEORY :  The  analysis  of  this  song  by  phrases  is  :  a,  a,  a',  a'.  The  modi- 
fication of  phrases  in  this  song  is  effected  by  the  substitution  of  a  new 
motive  in  introducing  the  modified  phrase.  Observe  that  all  the 
phrases  end  aUke,  and  that  variety  is  introduced  through  the  intro- 
ductory motive  of  the  phrase.     The  song  is  in  the  key  of  G  minor. 

INTERPRETATION :  Siiig  briskly  and  with  rough  vigor.  The  words  "Trot  ! 
Trot!"  "Fly!  Fly!"  and  "Beat!  Beat!"  should  be  sung  with 
marked  emphasis  and  somewhat  staccato.  The  effect  of  rushing, 
urging,  and  pushing  forward  should  be  emphasized. 

The  Singers  of  the  Sea;  Book  Three,  page  56.     Manual,  Vol.  Ill,  page  182. 

theory:  The  analysis  of  this  song  by  phrases  is  :  a,  b,  a,  b,  c,  d,  e,  b. 
The  analysis  is  interesting  through  the  fact  that  in  two  instances  mo- 
tives are  borrowed  from  previous  phrases  by  subsequent  contrasting 
phrases  ;  for  example,  phrase  d  borrows  a  motive  from  phrase  c,  and 
phrase  e  borrows  a  motive  from  phrase  a.  By  this  means  a  closelj'^- 
knit  unity  and  striking  variety  are  achieved. 

INTERPRETATION :  Sing  smoothly  and  with  quiet  simplicity. 

The  Lincolnshire  Poacher;  Book  Three,  page  57.  Manual,  Vol.  Ill,  page 
182. 

theory  :  The  analysis  of  this  song  by  phrases  is :  a,  b,  c,  d,  c,  d,  a',  b. 
The  modification  of  a  is  effected  in  a  striking  manner  by  the  hold 
upon  the  first  note  of  the  substituted  introductory  figure  of  the 
phrase. 

INTERPRETATION :  It  may  be  necessary  to  explain  the  meaning  of  the  word 
"poacher."  Interesting  references  will  be  found  in  stories  of  Robin 
Hood  and  Scott's  "Ivanhoe."     The  song  should  be  sung  jovially. 

A  Word;  Book  Three,  page  58.     Manual,  Vol.  Ill,  page  183. 

THEORY :  The  analysis  of  this  song  by  phrases  is  :  a,  b,  c,  d,  a',  V,  e,  f. 
The  modifications  of  phra.ses  in  this  song  are  effected  through  a  change 
of  key.  Phrases  a  and  b  are  in  the  key  of  F  minor  and  a'  and  b'  in 
the  key  of  A-flat,  the  relative  major.  Phrases  c  and  e  are  alike 
in  several  respects,  though  it  is  questionable  whether  the  similarity 
is  sufficient  to  warrant  calling  them  by  the  same  letter.  The  song 
begins  in  F  minor,  and  modulates  to  the  key  of  A-flat  major. 


CHAPTER  OUTLINES  89 

iNTERPRETATiox :  The  imj)ortant  point  is  to  liring  out  tlie  contrast  in 
mode  and  sentiment.  The  song  opens  sadly  and  closes  brightly. 
Observe  also  that  the  change  in  sentiment  occurs  at  the  change  of 
ke}-.  In  the  next  to  the  last  phrase  the  sadness  of  the  word  "  hea\-j' " 
is  emphasized  by  the  minor  (|uality  of  the  chromatic  tone. 

The  Old  Apple  Tree:   Book  Three,  page  58.     Manual,  X'ol.  Ill,  page  184. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 
this  chapter.     (See  page  86.) 

theory:  "Vivo."     See  Glo.s.saiy. 

The  analysis  of  this  song  by  phrases  is :  a,  a',  a",  h,  a",  h.  The 
first  modification  of  a  is  effected  by  sequential  repetition  of  the  phrase 
on  a  higher  tone  of  the  scale.  In  the  second  modification  the  se- 
quential repetition  is  continued  on  a  still  higher  tone,  and  a  new  form 
of  modification  is  introduced  through  a  device  called  inversion,  in 
which  the  melody  is  tm-ned  uiiside  down  ;  i.  e.,  the  figure  in  the  third 
measure  of  phrase  a  occiu's  in  iiu'ei-ted  foi'ui  in  the  third  measiu'e  of 
o".     The  song  is  in  the  key  of  E  minor. 

interpretation:  Though  sung  sadly  the  song  should  be  sung  rather 
quickly.  Observe  carefully  the  diminuendo  in  the  fourth  and  sixth 
phrases. 

The  Xightingale;  Book  Three,  page  59.  Manual,  Vol.  Ill,  page  184. 
theory  :  A  new  use  of  the  natural  occurs  in  the  second  measure  of  this 
song.  At  this  point  the  effect  of  the  shai-p  in  the  same  measure  is 
canceled  and  the  syllable  sung  as  if  no  sharp  had  jireviously  occurred. 
The  analysis  of  this  song  by  phrases  is  :  a,  b,  a',  c,  a',  d,  a.  The  form 
of  the  song  is  made  particularly  interesting  by  the  little  humming 
interludes,  which  occur  at  the  close  of  each  regular  phrase.  These 
little  interludes  are  varied,  each  one  differing  fi'om  the  other.  The 
modifications  of  the  i)rincipal  phrases  are  effected  by  a  change  of 
mode,  the  original  plirase  appearing  in  A  minor  and  the  modified 
phrase  in  C  major. 
INTERPRETATION  :  The  soug  is  to  be  sung  slowly  and  sailly.  Such  ballads 
as  this  were  at  one  time  very  popular,  not  only  in  England  but  with 
the  peasantiy  of  the  European  continent.  In  singing  the  song,  it  is 
.sometimes  a  good  plan  to  assign  the  lines  to  one  or  several  soloists 
and  have  the  class  resjjond  with  the  huimning  interludes. 

New  Year's  Song ;  Book  Three,  page  60. 

theory  :  The  analysis  of  this  song  by  j)hrases  is  :  a,  a',  h,  c.  c'.  d,  c.  The 
modification  of  phrase  a  is  effected  by  repeating  the  body  of  the 

T.  M.  VcjI.  hi-  : 


90  TEACHER'S   MANUAL 

phrase  one  tone  higher.  The  modification  of  phrase  c  is  effected 
through  a  change  of  mode,  c'  being  in  the  relativ^e  minor  key,  F-shaip 
minor.  The  attention  of  the  children  should  be  called  to  the  fifth 
measure,  in  which  the  sharp  chromatic  in  the  alto  part  affects  the  last 
note  as  well  as  the  first. 
INTERPRETATION  :  Sing  slowly  and  quietly,  carefully  observing  the  marks 
of  expression.  The  last  stanza  should  be  sung  more  quickly  and 
brightly. 

In  the  Lists;  Book  Three,  page  60.     Manual,  Vol.  Ill,  page  181. 

theory:  "Maestoso."     See  Glossary. 

The  analysis  of  this  song  by  phrases  is  :  a,  a,  a',  a".  The  first 
modification  of  a  is  effected  by  the  substitution  of  a  new  motive  to 
conclude  the  phrase.  The  second  modification  of  a  is  effected  by 
an  alteration  of  the  new  motive  that  appeared  in  a'. 

INTERPRETATION :  This  song  is  of  extreme  antiquity,  dating  back  to  the 
days  of  the  crusaders.  The  poem  is  a  modification  of  the  original 
text  and  refers  to  the  days  of  the  tournaments.  The  novels  of  Scott 
may  again  be  referred  to  for  stories  of  this  period.     The  song  should 

•  be  sung  boldly,  with  well-marked  accents.  It  would  be  advisable 
to  have  the  children  look  up  the  meaning  of  the  unfamiliar  words  in 
the  text. 

Patriotic  Hymn;  Book  Three,  page  61.     Manual,  Vol.  Ill,  page  186. 

theory:  The  analysis  of  this  song  by  phrases  is  :  a,  a',  b,  c,  c'.  The 
modification  of  a  is  effected  by  a  temporary  change  of  kej-.  The 
modification  of  c  is  effected  by  a  change  in  the  last  note,  by  which  the 
song  is  brought  to  a  complete  close.  Note  the  sequential  repetition 
of  the  two  motives  in  phrase  b.  This  motive  is  borrowed  from  the 
final  motive  of  the  first  phrase. 

interpretation  :  The  song  should  be  sung  with  the  effect  of  breadth  and 
dignity.  A  broad  ritard  may  be  made  at  the  conclusion  of  the  final 
phrase. 

The  Fountain  and  the  Birds;    Book  Three,  page  62.     Manual,  Vol.  Ill, 

page  186. 
theory  :  The  analysis  of  this  song  by  phrases  is  :  a,  b,  a,  h',  b",  b'".     The 

first  modification  of  b  is  effected  by  means  of  a  different  closing  tone. 

The  phrase  b"  consists  of  the  sequential  repetition  of  the  first  motive 

of  the  phrase  6,  and  the  sequential  repetition  is  continued  in  phrase 

b'".     The  song  is  in  the  key  of  E  minor. 
interpretation  :  Sing  lightly  and  delicately. 


CHAPTER  OUTLINES  91 

Back  of  the  Bread;  Book  Three,  page  G2.  ^Manual,  Vol.  Ill,  page  187. 
TiiKOKv  :  The  aualj'sis  of  this  song  by  phrases  is  :  a,  b,  a',  b',  a",  b",  a'", 
b'.  The  moihfications  of  phrase  a  are  effected,  in  each  case,  by  trans- 
position of  the  final  figure  to  a  higher  step  in  the  scale.  The  modi- 
fications of  b  are  of  two  forms ;  first,  the  substitution  of  a  final 
note,  as  in  b',  and  second,  the  sequential  repetition  on  a  higher 
tone,  as  in  b".  The  examples  of  a  are  particuhirly  interesting  be- 
cause not  only  are  they  unusual,  but  because  the  sentiment  of  the 
song  is  developed  with  a  peculiar  appropriateness  by  the  regular 
elevating  of  the  figure. 
INTERPRETATION  I  Eacli  sectlou  of  two  phrases  should  be  given  with  in- 
creasing fervor. 

Song  of  the  Winds;  Book  Three,  page  G3.     Manual,  Vol.  Ill,  page  188. 

THEORY :  "  Rit.  e  dim."     See  Glossary. 

The  analysis  of  this  song  by  phrases  is :  a,  a',  b,  b' ,  c,  c',  d. 
The  modification  of  a  is  effected  by  repetition  upon  a  higher  degree 
of  the  scale.  The  modification  of  b  is  effected  through  repetition 
upon  the  next  lower  degree  of  the  scale.  The  modification  of  c  is 
effected  by  means  of  transposition  to  a  lower  key  and  by  so  shorten- 
ing the  time  values  that  the  figure  may  be  repeated  twice.  Note 
further  that  the  second  ending  should  be  analyzed  as  d'.  Phrase 
d  concludes  in  the  key  of  D  minor,  the  song  being  in  that  key,  but 
d'  ends  in  the  relative  major  key,  F  major. 

INTERPRETATION :  The  song  should  be  sung  impetuously.  Each  time  the 
word  "Blow"  is  sung  there  should  be  a  marked  crescendo  ending  al- 
most with  an  explosion.  The  first  ending  should  be  quiet  and  som- 
ber ;  the  second  ending,  though  sung  slowly,  should  be  emphatic  and 
bright. 

Winter  Clouds;  Book  Three,  page  64.  Manual,  Vol.  Ill,  page  189. 
THEORY :  The  analysis  of  this  song  by  phrases  is :  a,  a,  a',  a",  a.  The 
two  modifications  of  a  are  effected  by  means  of  sequential  repetition 
and  by  the  substitution  of  a  new  final  figure.  Phrase  a'  is  in  the  rel- 
ative major  key,  A-flat  major.  Observe  that  the  last  three  phrases 
should  be  repeated.  The  song  is  in  the  key  of  F  minor. 
INTERPRETATION :  Sing  bHskly  and  boldly,  in  the  time  of  a  lively  march. 


92 


TEACHER'S  MANUAL 


CHAPTER   VIII.     THE   INTRODUCTION    OF   THREE-PART   SINGING 
I.   Tone  Drill 

1.  Review  the  three-part  rounds  of  Part  One. 

(a)  Seesaw;  Book  Three,  page  11. 

(b)  The  Huntsmen;   Book  Three,  page  34. 

(c)  Sing  Together;    Book  Three,  page  46. 

(d)  White  Sand  and  Gray;   Book  Three,  page  55. 

2.  Three-part  chord  exercises  in  major  and  minor.     Divide  tlie  class 

into  three  equal  groups.  Practice  the  following  exercises,  alter- 
nating the  parts,  until  each  group  can  sing  the  upper,  middle,  and 
lower  part. 


6  a 


^^4i4mti^^f'ff^f 


3.  Begin  the  study  of  three-part  songs.  Book  Three,  page  65.     If  the 

class  is  not  strong  in  sight  reading,  the  teacher  may  find  it  ad- 
visable to  begin  three-part  singing  with  the  song  on  page  67,  or 
with  the  song  on  page  69. 

4.  In  the  interpretative  study  of  three-part  songs,  a  permanent  as- 

signment of  parts  should  be  made  for  each  song.'  Keep  the 
children  in  the  groups  assigned  until  the  song  is  learned,  and  for 
recreational  singing  continue  the  same  division  of  the  class. 
With  the  study  of  each  new  three-part  song  the  assignment  of 
parts  should  be  alternated,  thereby  training  the  children  to  sing 
any  part. 

5.  Any  pupils  who  cannot  reach  the  higher  tones  should  be  seated  in 

the  center  of  the  room,  in  either  the  front  or  rear  of  the  class,  and 
should  be  allowed  always  to  sing  the  second  or  third  par'*. 
1  The  treatment  of  voices  in  part  singing  is  discussed  on  page  21. 


[I.   Time  Drill 

Three-quarter     /■i'^ 
measure          \4/ 

\         Four-(iuarter         / 
/             measure             \ 

(1)     ^       ^       "■' 
('■>\     *       ^       -  • 

(3)  ^  ^^  ^r 

(4)  - : :  r   r 

(6)  i^  r    r    J  J 

(7)  r-  :::r 

CHAPTER  OUTLINES  93 


Four-eighth 
measure 


III.  Theory  DriU 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expression, 

as  they  occur  in  the  songs  of  the  course,  should  be  explained  to  the 
pupils. 

2.  The  children  must  learn  to  follow  properly  the  three  parts,  first  and 

second  soprano  and  alto,  as  given  on  the  two  staves  and,  in  some 
songs,  on  three  staves. 

rV.    Song  Analysis  and  Interpretation 

Prayer ;  Book  Three,  page  65. 

TLME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill  for 
this  chapter,  numbers  1  and  2. 

INTERPRETATION :  Sing  rathcp  slowly,  with  careful  attention  to  the  slight 
distinctions  marked  in  the  time  of  the  several  parts.  By  obser\-ing 
the  rule  that  ascending  passages  should  be  sung  with  slight  crescendo, 
and  decrescendo  given  to  descending  passages,  the  children  may  be 
led  to  observe  the  places  at  which  each  of  the  parts  should  occasionally 
become  more  prominent. 

Song  of  the  Brook ;  Book  Three,  page  66. 

INTERPRETATION :  Siiig  in  moderate  tempo,  very  simply. 

Good  Night;  Book  Three,  page  67. 

INTERPRETATION :  Sing  slowly  and  quietly. 

The  Dandelions;  Book  Three,  page  68.     Manual,  Vol.  Ill,  page  190. 
INTERPRETATION :  Siiig  rather  quickly  and  gently. 

Fair  is  the  Summer:  Book  Three,  page  69. 

INTERPRETATION :  Sing  with  extreme  simplicity  and  very  cjuictly. 


94  TEACHER'S   MANUAL 

/  Dream  in  Quiet  Sadness ;  Book  Thi-oe,  page  70. 
THEORY  :  The  song  is  in  the  key  of  G  minor. 

INTERPRETATION  :  Sing  slowly  and  smoothly.    Each  part  must  be  clearly 
maintained  in  order  to  give  the  chords  their  full  effect. 

The  Spring  (Three-part  Round)  ;  Book  Three,  page  71. 
INTERPRETATION  :  Sing  joyously  and  rather  quickly. 

To  the  Old  Long  Life  (Three-part  Round)  ;  Book  Three,  page  72. 
TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  4,  5,  and  6.     (See  page  93.) 
INTERPRETATION  :  Sing  qulckly,  with  clearly  defined  rhythm. 

The  Forest  Concert;  Book  Three,  page  74. 
INTERPRETATION :  Sing  with  joyous  buoyancy.     Observe  carefully  the 
marks  of  expression. 

The  Comet;  Book  Three,  page  76.     Manual,  Vol.  Ill,  page  192. 
theory:  "  Sforzando,  sfz,  sf."     See  Glossary. 

INTERPRETATION  :  Give  much  attention  to  the  dramatic  emphasis  upon 
the  humorous  element  of  the  song. 

Chairs  to  Mend  (Three-part  Round)  ;  Book  Three,  page  77. 
INTERPRETATION :   Sing  in  moderate  tempo.     Additional  interest  and 
effectiveness  can  be  given  to  the  round  by  introducing  different 
qualities  of  tone  for  the  different  calls. 

The  Evening  Bells;  Book  Three,  page  78. 
INTERPRETATION :  This  lovely  song  well  deserves  careful  study.      Note 
that  in  certain  phrases  the  alto  voice  must  become  prominent.     Ob- 
serve carefully  the  marks  of  expression. 

The  Voice  of  Evening;  Book  Three,  page  80. 
time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  8,  9,  10,  11,  12,  13,  and  14.     (See  page  93.) 
INTERPRETATION  :  Sing  vcry  slowly  and  smoothly. 

Mother  Dear;  Book  Three,  Page  81. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill 

for  this  chapter,  number  3.     (See  page  93.) 
THEORY  :  The  song  is  in  the  key  of  C  minor. 
INTERPRETATION  :  Sing  with  gentle  motion. 


CHAPTER  OUTLINES  95 

Siny,  0  Sing;  Book  Three,  page  82. 

miE:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 

this  chapter,  number  7.     (See  page  93.) 
INTERPRETATION :  Siiig  gayly  and  rather  quickly. 

Barcarolle;  Book  Three,  page  84. 

INTERPRETATION  I  Siiig  rathcF  slowly  but  with  well-felt  swinging  rhythm. 

Early  to  Bed  (Three-part  Round) ;  Book  Three,  page  85. 
INTERPRETATION :  Sing  brightly  and  not  too  slowly. 


96 


TEACHER'S   MANUAL 


CHAPTER   IX.     FOUR   EQUAL   NOTES   TO   A   BEAT 

'  I.   Tone  Drill 

Thei-e  are  no  new  tone  problems  in  the  songs  of  this  chapter. 

II.   Time  Drill 

Four  Equal  Notes  to  a  Beat. 

The  new  beat  groups  (^^^^  ^^^B  B^^^  should  be  given  as 
patterns  by  the  teacher,  and  the  patterns  imitated  by  the  children, 
singing  the  descending  scale,  until  the  rhythm  is  mastered.  The 
class  and  individuals  should  then  drill  upon  the  measure-forms  out- 
lined below. 

The  remarks  on  page  76  regarding  the  beat,  measure,  and  phrase 
rhythmic  elements  apply  with  equal  force  to  the  problems  of  this 
and  subsequent  chapters. 


Two-quarter  measure     ( 

.t) 

(1) 

aTEsT    ' 

(11) 

SS 

iii 

^ 

(2) 

(12) 

r- 

'i't 

(3) 

y  y  y  y 

(13)  y 

1  ^ 

C     £:' 

(4) 

JsS/JJ    0 

(14) 

55 

55 

(5) 

'       S  S  f 

1/    ^  ^  r 

(15) 

w  . 

iiz' 

(6) 

r    u^  c T 

(16) 

p 

m 

^5 

(7) 

:   y:   ^ 

(17) 

r 

^5 

(8) 

J    5?^    5? 

(18) 

1          1 

f 

(9) 
10) 

yz  yy 

^  ^  ^  y 

(19) 

C 

5=1  C 

I- 

Three-quarter  measure     (  t  j 

(20)  r      r      yy 

(21)  i^:-^r 

(22)  ^£^r       LJ' 

p  p  p  0 


ppp 


Four-quarter  measure     f  t  j 

(25)     f^- 

(26)  r-      c  CiT 

(27)  J  5  ^^r   r 


^ 
k 


(23) 

(24)  J-    jr 


r 


CHAPTER  OUTLINES  97 

III.   Theory  Drill 

The  meaning  of  the  cliaiacters  of  notation  and  marks  of  expression,  as 
they  occur  in  the  songs  of  the  course,  should  be  explained  to  tlie 
pupils. 

IV     Song  Analysis  and  Interpretation 

Love's  Power;  Book  Three,  page  86. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  foi- 

this  chapter,  number  22.     (See  page  96.) 
iNTEKPRETATioN :    Sing  rather  slowly  and  quietly.     Do  not   luu'ry  the 

sixteenth  notes. 

Cradle  Sony;  Book  Three,  page  87.     Manual,  Vol.  Ill,  page  194. 

time:    The  song  includes  the  measure-forms,  found  in  the  Time  Di'ill 

for  this  chapter,  numbers  26  and  27.     (See  page  96.) 
interpretation:    Sing  quite  slowly  and  with  deep  sentiment.     This  is 

one  of  the  loveliest  of  Franz  Schubert's  many  beautiful  songs. 

The  Minuet;  Book  Three,  page  88.     Manual,  Vol.  Ill,  jiage  195. 
time:    The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  21  and  24.     (See  page  96.) 
interpretation:    Sing  in  the  rhythm  of  the  minuet,  with  slow  and 

graceful  movement.     This  melody  is  taken  from  Mozart's  famous 

opera,  "Don  Juan." 

Brave  of  Heart  and  Warriors  Bold;  Book  Three,  page  88.     Manual,  ^'ul. 

III,  page  196. 
TIME :    The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  mmibers  1  and  15.     (See  page  96.) 
THEORY :  The  song  is  in  the  key  of  E  minor. 
INTERPRETATION :  Sing  not  too  quickly,  but  with  great  enthusiasm  and 

strong  emphasis. 

SIk  iil/crd's  Song;  Book  Throe,  pai^c  S9.    Manual.  Vol.  TTI.  pai>(' 
197. 
TIME:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 

this  chapter,  number  20.     (See  page  96.) 
THEORY :  The  song  is  in  the  key  of  A  minor. 

INTERPRETATION :    This  lovcly  soHg,  with  its  ever  changing  measures, 
should  be  sung  gently  and  with  (juiet  emotion. 

In  Ocean  Cave;  Book  Three,  page  90.     Manual,  Vol.  Ill,  page  198. 
time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 
this  chapter,  number  23.     (See  page  96.) 


98  TEACHER'S   MANUAL 

THEORY :  The  song  is  in  the  key  of  D  Minor. 

interpretation:  Do  not  sing  too  (luickly.  This  is  one  of  the  loveUest 
of  the  many  beautiful  and  characteristic  folk  songs  of  Scandinavia, 
and  should  be  studied  carefully  and  appreciatively. 

Dream  and  Snowjlake;  Book  Three,  page  91.     Manual,  Vol.  Ill,  page  200. 
Ti.\iE :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill  for 

this  chapter,  numbers  5,  16,  and  17.     (See  page  96.) 
theory:  "  Molto  tranquillo."     See  Glossary. 
INTERPRETATION' :  Sing  slowly,  with  tender  emotion.     Moszkovvski  has 

written  few  melodies  that  are  as  appealing  as  is  this  lovely  song. 

Theme;  Book  Three,  page  91. 
theory:  "Ma  non  troppo."     See  Glossarj'. 

Sleep,  My  Child;  Book  Three,  page  92.     Manual,  Vol.  Ill,  page  202. 
TIME :  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 
this  chapter,  number  7.     (See  page  96.) 
THEORY :  The  song  is  in  the  key  of  A  minor. 

INTERPRETATION :  Sing  Very  gently,  quietly,  and  slowly. 

Marching  Song;  Book  Three,  page  92. 

TIME :  The  song  includes .  the  measure-forms,  found  in  the  Time   Drill 

for  this  chapter,  numbers  2,  10,  and  11.     (See  page  96.) 
INTERPRETATION :  Siiig  in  the  tempo  of  a  well-marked  quickstep. 

NiglUingale,  Sweet  Nightingale ;  Book  Three,  page  93.     Manual,  \'ol.  Ill, 

page  203. 
TIME :  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 

this  chapter,  number  6.     (See  page  96.) 
THEORY :  The  song  is  in  the  key  of  B  minor. 
INTERPRETATION :  This  lovely  and  well-known  Russian  folk  song  should 

be  sung  slowly  and  sweetly. 

At  the  Forge;  Book  Three,  page  94.     Manual,  Vol.  Ill,  page  204. 

TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  8,  14,  18,  and  19.     (See  page  96.) 
THEORY :  ^\'Tien   singing   this   song   with   piano   accompaniment,   note 

that  four  measures  of  interlude  occur  between  the  close  of  the  first 

division  in  F  and  the  beginning  of  the  second  division  in  C. 
INTERPRETATION :  Sing  rather  slowly,  but  with  strongly  marked  emphasis. 

Observe  the  "  Da  capo  "  and  "  Fine." 


CHAPTER  OUTLINES  99 

The  Bird  Catcher;  Book  Three,  page  95.     Manual,  \ 01.  Ill,  page  2(Jb. 
time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  3  and  13.     (See  page  96.) 
INTERPRETATION :  Sing  happily,  but  not  too  quickly.     This  selection  is 

from   Mozart's  famous  opera  "The  Magic  Flute,"  and  is  one  of 

Mozart's  happiest  ins])irations. 

Theme:  Book  Three,  page  95. 
INTERPRETATION :  Sing  smoothlv,  without  dragging. 

Before  I  Open  Drowsy  Eyes;  Book  Three,  page  96. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill 

for  this  chapter,  number  4.     (See  page  96.) 
iNTERPRET.iTioN :  Sing  rather  slowly  and  delicately. 

Theme:  Book  Three,  page  97. 

INTERPRETATION :  Sing    quictly    and    rather    (luickly,    though    without 
hurrjdng. 

It  iro.s  A  Lover  and  His  Lass;  Book  Three,  page  98.     Manual,  \'ol.  III. 

page  207. 
time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill 

for  this  chapter,  number  12.     (See  page  96.) 
INTERPRETATION:  This  adaptation  of  the  well-known  song  by  Thomas 

Alorley  to  Shakespeare's  words  should  be  sung  gayly,  though  not 

too  rapidly,  with  a  well-marked  rallentando  at  the  close. 

Glassy  Lake;  Book  Three,  page  99.     Manual,  Vol.  Ill,  page  209. 
THEORY :  The  song  is  in  the  key  of  G  minor. 
iNTERPRET.\TioN :  Sing  rather  slowly,  but  not  sadly. 

Theme;  Book  Three,  page  99. 
TIME :  The  theme  includes  the  measure-form,  found  in  the  Time  Drill 

for  this  chapter,  number  25.     (See  page  96.) 
theory:  "Brio."     See  Glossary. 

When  I  Go  Out  on  My  Wheel;  Book  Three,  page  100.     Manual,  \o\.  III. 
page  210. 
interpretation:  Sing   gayly,    rather   quickly,    and   with    well-marked 
rhythm. 

The  Trout:  Book  Three,  page  101.     Manual,  Vol.  Ill,  page  211. 
time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill 

for  this  chapter,  number  9.     (See  page  96.) 
interpretation  :  Sing  with  crisp,  well-defined  rhythm. 


100 


TEACHER'S   MANUAL 


CHAPTER    X.     FOUR   TONES   ASCENDING    CHROMATICALLY 
I.    Tone  Drill 

{a)   Practice  carefully  the  following  tone  drills : 

la-si-la  la-li-ti                    la-si-la-li-ti 

so-fi-so  so-si-la                   so-fi-so-si-la 

fa-mi-fa  fa-fi-so                  fa-mi-fa-fi-so 

re-di-re  re-ri-mi 

do-ti-do  do-di-re 


re-di-re-ri-mi 
do-ti-do-di-re 


(h)  Practice  also  the  following  exercise ; 


1  y  4 r-^ — ; r — 1 r^ — i 1 \~^ — 1 — \ — 1 — t^ 

Ep=^^F^4;*35^=*yAi^^ 

(1) 


i 


^@3 


^ 


m 


t 


EE 


*c 


<S-r- 


lifac 


The  progression  at  (1)  is  frequently  written  as  follows: 


pi^^±h^% 


II.    Time  Drill 


Three-quarter 
measure 


(1) 


(1) 
(2) 


•  ^• 


0  •• 


III.   Theory  Drill 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expression, 

as  they  occur  in  the  songs  of  the  course,  should  be  explained  to 
the  pupils. 

2.  In  this  chapter  the  children  should  learn  the  theory  of  the  ascending 

chromatic  scale.  Already  their  study  of  scale  structure,  major 
and  minor,  has  acquainted  them  with  the  fact  that  steps  and  half- 
steps  occur  at  certain  points  in  the  diatonic  scales.  Moreover 
the  study  of  chromatic  tones  has  acquainted  the  children  both 
with  the  place  in  the  scale  of  the  chromatic  tones  and  with  their 
syllable  names.     The  study  of  the  structure  of  the  chromatic 


CHAPTER  OITLINES  101 

scale,  therefore,  resolves  itself  into  the  organizing  of  the  knowledge 
thus  acquired  into  dofiiiitc  form.  The  formula  fur  the  ascending 
chromatic  scale  is  as  follows  : 

do-di-re-ri-mi-ia-fi-so-si-la-       -ti-do 

[te 

With  the  aid  of  the  keyboard  diagram,  the  cliildren  sliould  work  out 
the  proper  notation  for  this  scale  in  all  the  keys,  both  those  with 
sharps  and  those  with  flats  in  the  signature.  It  is  ad^^sed  that 
all  the  notes  of  the  chromatic  scale  be  first  placed  upon  the  staff, 
and  that  the  necessary  chi'omatic  signs  be  then  added. 

IV.    Song  Analysis  and  Interpretation 

The  Bluebirds;    Book  Three,  page  102.     Manual,  ^'ol.  III,  page  21.3. 
Ti.ME :  The  song  includes  the  measure-forms,  found  in  (he  Time  Drill  for 

this  chapter,  numbers  1  and  2.     (See  page  100.) 
i.\TERPRET.\TioN :  Sing  jovfully,   the  two  voices  maintaining  a  strong 

contrast  as  they  answer  each  other. 

Travel:  Book  Three,  page  104.     Manual,  Vol.  Ill,  page  216. 

to.\e:  Although  presenting  no  example  of  four  tones  ascending  chro- 
matically, this  song  contains  a  number  of  chromatic  passages  for 
which  the  Tone  Drills  of  the  chapter  afford  the  necessary  preparation. 
interpretation:  Sing  happily  and  quickly. 

The  Best  Instrument;  Book  Three,  page  105. 
INTERPRETATION :  Sing  iu  moderate  tempo  and  steadily.     The  ascending 
passage  on  the  last  staff  should  be  marked  by  a  strong  crescendo. 

The  April  Folk;  Book  Three,  page  106.     Manual,  Vol.  Ill,  page  217. 
INTERPRETATION:  Sjug  gayly,  though  not  too  (|uickly,  observing  care- 
fully the  marks  of  expression. 

Gay  Liesel;  Book  Three,  page  108.     Manual,  Vol.  Ill,  page  219. 

INTERPRETATION:  The  first  part  of  the  song  should  be  sung  (|uietly  and 
rather  smoothly ;  the  second  part  brightly,  with  well-marked  rhythm. 


102  TEACHER'S   MANUAL 

CHAPTER   XI.      TRIPLETS:      THREE   NOTES   IN   THE  TIME   OF   TWO 

I.   Tone  Drill 

There  are  no  new  tone  ])ro])lems  in  the  songs  of  this  chapter. 

II    Time  Drill 

The  new  beat  groups   im   ^»    m    0     m)  should  be  given  as  patterns 

by  the  teacher,  and  the  patterns  imitated  by  the  children,  singing  t  he 
descending  scale,  until  the  rhythm  is  mastered.  The  class  and  in- 
dividuals should  then  drill  upon  the  measure-forms  outlined  below. 
Note  the  remarks  on  page  76  regarding  beat,  measure,  and  phrase 
rhythmic  elements. 


Two-quarter     /  2  \ 
measure        \4  / 

Three-quarter 
measure 

(!) 

] 

Four-quarter     A 
measure         \' 

1) 

(1)  r    ::: 

(4) 

r     r 

*  '  1* 

(11) 

P         *  1*  P  • 

r 

(2)     1^  U  1^  U  U  y 

(5) 

^  0  p 

3 

(12) 

3 

p          0  f  P  • 

p  p 

(3)  :  : ::: 

(6) 

tj^r 

3 

r   : 

(13) 

*       T_±_T  '* 

m  .    m 

(7) 

rjtr 

c^ 

(1-1  j 

r 

(8) 

1      i^  1^ 

Lit 

(9) 

p      r_Lj* 

3 
'r  r  r 

(10) 

r-     t 

lTo 

ni.   Theory  Drill 

1.  The  meaning  of  the  characters  of  notation  and  the  marks  of  ex- 

pression, as  they  occur  in  the  songs  of  the   course,    should   be 
explained  to  the  pupils. 

2.  Triplets.     These  are  explained  under  the  Time  Drill  of  this  chapter. 

3.  Continue  drill  upon  the  ascending  chromatic  scale. 

IV.    Song  Analysis  and  Interpretation 

Punchinello;  Book  Three,  page  109.     Manual,  Vol.  Ill,  page  220. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill 
for  this  chapter,  number  1. 


CHAPTER  OUTLINES  1U3 

INTERPRETATION  :  Do  iiot  siiig  too  quickly,  but  make  tlic  words  quite 
distinct.  The  triplets  should  be  sung  very  distinctly,  and  each  suc- 
ceeding figure  in  which  the  triplet  occurs  should  be  sung  with  greater 
emphasis. 

Row,  Row,  Row  Your  Boat  (Four-part  Round) ;  Boojc  Three,  page  109. 
time:  The  song  includes  the  measure-form,  found  in  the  Time  Diill  for 
this  chapter,  number  2.     (See  page  102.) 

From  a  Bygone  Day;  Book  Three,  page  110. 

TEviE :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  5,  G,  and  7.     (See  page  102.) 
INTERPRETATION :  Sing  slowly,  quietly,  and  simply,  noting  carefully  the 

marks  of  expression. 

Theme;  Book  Three,  page  111. 
time:  The  theme  includes  the  measure-form,  found  in  the  Time  Drill 

for  this  chapter,  number  11.     (See  page  102.) 
theory:  "Confuoco."     See  Glossary. 
The  theme  is  in  the  key  of  E  minor. 

The  Linden  Tree;  Book  Three,  page  112. 
time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  8  and  10.     (See  page  102.) 
interpretation  :  The  first  and  second  stanzas  should  be  sung  slowly  and 

sadly;    the  first  five  phrases  of  the  third  stanza  should  be  sung 

rather  quickly  and  sharply,  returning  to  the  feeling  of  sadness  in  the 

final  phrase. 

Theme;  Book  Tlu'ee,  page  113. 
time:  The  theme  includes  the  measure-form,  found  in  the  Time  Di'ill 

for  this  chapter,  number  9.     (See  page  102.) 
theory:  The  theme  begins  in  the  key  of  A  minor,  and  closes  in  the 

key  of  E  minor. 

Robin  Redbreast  Told  Me;  Book  Three,  page  114.     Manual,  Vol.  Ill, 
page  220. 
time  :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  12  and  14.     (See  page  102.) 
theory:  "SempUce." 


"Stringendo.-r^^^'^^^^^^y- 
interpretation  :  Sing  rather  slowly  and   simplj^,   observing   carefullj'' 
the  marks  of  expression. 


1U4  TEACHER'S   MANUAI 

A  Sailor's  Life;  Book  Three,  page  115.     Manual,  \o\.  Til,  page  222. 

time:  The  song  includes  the  ineasure-fonn,  found  in  the  Time  Drill 
for  this  chapter,  number  13.     (See  page  102.) 

THEORi*:  Beginning  in  the  key  of  F-sharp  minor,  a  modulation  to  F- 
sharp  major  is  indicated  by  a  change  of  key  signature. 

iNTEKPxtETATiON :  Observe  the  difference  in  effect  between  the  minor 
melody  of  the  first  part  of  the  song  and  the  major  melody  that  fol- 
lows, and  express  this  change  of  sentiment  in  the  tone  quality  of  the 
voices. 

My  Bedtime;  Book  Three,  page  116.     Manual,  Vol.  Ill,  page  224. 
INTERPRETATION' :  Sing  rather  slowly  and  very  simply. 

Theme;  Book  Three,  page  116. 

TIME :  The  theme  includes  the  measure-form,  found  in  the  Time  Drill 
for  this  chapter,  number  4.     (See  page  102.) 

Spring's  Messenger;  Book  Three,  page  117.     Manual,  Vol.  Ill,  page  223. 

time:  The  song  includes  the  measure-fonn,  found  in  the  Time  Drill  for 
this  chapter,  number  3.     (See  page  102.) 

interpretation:  Sing  slowly,  carefully  following  the  marks  of  expres- 
sion. 


CHAPTER  OUTLINES 


105 


CHAPTER    XII.     FOUR   TONES   DESCENDING    CHROMATICALLY 
Tone  Drill.     Four  Tones  Doacendiug  Chronuitically. 


(a)    Practice  carefully  the  following  tone  drills  : 


ti-do-ti 

ti-te-la 

ti-do-ti-te-la 

la-te-la 

la-le-so 

la-te-la-le-so 

so-le-so 

J  so-se-fa 
[so-fi-fa 

so-le-so-se-fa 
so-le-so-fi-fa 

mi-Ja-mi 

mi-me-re 

mi-fa-mi-me-re 

re-me-re 

re-ra-do 

re-me-re-ra-do 

(b)  Practice  also  the  following  exercise  : 


(1) 


4=^ 


m± 


-z?~ 


^^as 


-i&- 


fe 


(2) 


^ 


)  1 1 — 


Jt^-^4i^EMI 


The  progression  at  (1)  is  usually  written  as  shown  at  (2). 

II.   Time  Drill 

There  are  no  new  time  problems  in  the  songs  of  this  chapter. 

III.   Theory  Drill 


1. 


The  meaning  of  the  characters  of  notation  and  the  marks  of  ex- 
pression should  be  explained  to  the  pupils. 

Double  Flat.  This  character  {^}  indicates  the  pitch  two  half- 
steps  lower  than  the  nomial  staff  degree.  The  children  should 
practice  finding  on  the  keyboard  diagram  the  keys  which  are 
named  by  using  the  term  "double-flat." 

The  children  should  learn  the  theory  of  the  descending  chromatic 

scale.     Their  study  of  the  structure  of  the  major  and  minor 

diatonic  scales  and  of  the  ascending  chromatic  scale,  and  their 

study  of  descending  chromatic  tones,  has  prepared  tliem  for  the 

work  here  outlined.     The  fommla  ior  the  descending  chromatic 

scale  is  as  follows  : 

^  se 


do-ti-te-la-le-so-  {     -fa-mi-me-re-ra-do 

With  the  aid  of  the  keyboard  diagram,  the  children  should  work 
out  the  proper  notation  for  this  scale  in  all  keys,  both  those  with 
sharps  and  those  with  flats  in  the  signature. 

T.  M.  V.jI.  III-> 


lOG  TEACHER'S   MANUAL 

rV.    Song  Analysis  and  Interpretation 

The  Hillside;  Book  Three,  page  118.     Manual,  Vol.  Ill,  page  226. 
tone:  The  new  tonal  problem  as  outlined  in  the  Tone  Drill  of  the 

chapter  occurs  in  the  twelfth  measure  of  the  song. 
interpretation:  Sing  slowly  and  gently. 

Gypsy  Maidens;  Book  Three,  page  118. 

tone  :  The  new  tone  problem,  so-fe-fa-mi,  occurs  twice  in  the  second 
section  of  the  song,  on  page  119.  It  will  be  noted,  however,  that 
the  so  is  understood  instead  of  expressed,  the  alto  part  in  reahty 
taking  the  tone  mi.  The  passage  should  be  practiced,  however,  by 
thinking  so  at  this  point. 

THEORY :  The  song  is  in  the  key  of  C-flat  major. 

interpretation  :  Do  not  sing  too  quickly,  but  maintain  a  well-marked 
rhythm. 

Robin  Redbreast ;  Book  Three,  page  119.     Manual,  Vol.  Ill,  page  228. 

tone:  The  chromatic  scale  effects  in  this  song  are  quite  difficult  and 
will  require  careful  study.  The  song  itself,  when  well  sung,  is  beau- 
tiful and  will  repay  the  study. 

THEORY :  The  song  is  in  the  key  of  G  minor. 

INTERPRETATION :  Sing  quite  slowly  and  sadly.  The  descending  chro- 
matic scale  passages  should  be  sung  with  a  well-defined  decrescendo. 

Rain  in  Summer;  Book  Three,  page  120. 

INTERPRETATION :  The  first  part  of  the  song  should  be  sung  quickly  and 
in  sharp  contrast  to  the  second  part  of  the  song. 

Theme;  Book  Three,  page  121. 

INTERPRETATION :  Siug  slowly,  with  much  feeling. 

Good  Night,  Pretty  Stars;  Book  Three,  page  122. 
INTERPRETATION :  Sing  slowly  and  sweetly 

Theme;  Book  Three,  page  12.3. 
theory:  "Largo."     See  Glossary. 

INTERPRETATION :  This  theme,  one  of  the  loveliest  melodies  that  has  ever 
been  written,  should  be  sung  very  slowly  and  smoothly. 

Friends;  Book  Three,  page  124.     Manual,  Vol.  Ill,  page  224. 
INTERPRETATION :  Sing  rather  slowly  and  quietly. 


CHAPTER   OUTLINES  107 


CHAPTER   XIII.     SYNCOPATION 


I.   Tone  Drill 

There  are  no  new  tone  problems  in  the  songs  of  this  chapter. 

II.   Time  Drill.     Syncopation. 

Most  of  the  new  rhj^thms  of  this  chapter  involve  more  than  one  beat. 
It  will  be  necessary  for  the  teacher  to  give  patterns  of  the  new 
rhythms,  which  the  children  are  to  imitate,  singing  them  to  the 
descending  scale  until  the  rhythm  is  mastered.  The  class  and  in- 
dividuals should  then  drill  upon  the  measure  forms  outlined  below. 

Two-quarter  measure     f  7  j 

(1)  •  r  k        (4)  5  u  5  r 

(2)  :  r  ^      (5)  5 :  ?  c  : 

(3)     Sf  (ti)     ^     55C' 

III.  Theory  Drill 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expression, 

as  they  occur  in  the  songs  of  the  course,  should  be  explained  to 
the  pupils. 

2.  Syncopation.     A  displacing  of  the  accent,  so  that  it  occurs  upon  an 

unusual  part  of  the  measure. 

3.  Continue  drill  upon  the  descending  chromatic  scale. 

IV.  Song  Analysis  and  Interpretation 

The  Squirrels;  Book  Three,  page  125.     Manual,  Vol.  Ill,  page  227. 
TIME :  The  song  includes  the  measure-fonn,  found  in  the  Time  Drill 

for  this  chapter,  number  1 . 
interpretation:  Sing  rather  quickly,  observing  the  staccato  effects 
as  marked. 

Themes;  Book  Three,  page  125. 
TEviE :  The  themes  include  the  measure-form,  found  in  the  Time  Drill 

for  this  chapter,  number  3.     Theme  I  also  includes  measure-fonn 

number  1. 
THEORY :  Theme  I  is  in  the  key  of  E  minor. 


108  TEACHER'S   MANUAL 

Fairy  Revelry;  Book  Three,  page  126. 

TIME :  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 
this  chapter,  number  2.     (See  page  107.) 

theory:  Observe  that  the  second  stanza  closes  with  several  additional 
measures.  Such  supplementary  portions  of  a  composition  are  called 
the  "coda." 

INTERPRETATION :  Sing  brightly,  marking  sharply  the  syncopated  meas- 
ures. 

The  Exiles;  Book  Three,  page  127.     Manual,  Vol.  Ill,  page  229. 
TIME :  The  song  includes  the  measure-fonns,  found  in  the  Time  Drill 

for  this  chapter,  numbers  4,  5,  and  6.     (See  page  107.) 
THEORY :  The  song  is  in  the  key  of  E  minor. 
INTERPRETATION :  Sing  slowly,  marking  the  accented  tones  heavily. 

The  Sandman;  Book  Three,  page  128.     Manual,  Vol.  Ill,  page  230. 
INTERPRETATION :  Siug  rather  slowly  and  very  simply. 


CHAPTER  OUTLINES  109 

CHAPTER  XIV.'     MISCELLANEOUS  SONGS  IN  ONE,  TWO,  AND  THREE  PARTS 
I.   Tone  DriU 

There  are  no  new  tone  problems  in  the  songs  of  this  t-iiapter. 

The  chiss  should  review  : 

(a)  Interval  Drills.     (See  Manual,  Vol.  II,  page  87.) 

(6)  The  Harmonic  Minor  Scale.  (See  Manual,  Vol.  II,  page  99.) 

(c)   The  Melodic  Minor  Scale.  (See  Manual,  ^'ol.  Ill,  page  67.) 

n.   Time  Drill 

1.  The  class  should  be  drilled  on  selected  measure-forms  from  the  fol- 

lowing pages  of  Manual,  Vol.  Ill :  61,  67,  72,  76,  79,  80,  84,  93, 
96,  102,  and  107. 

2.  There  are  no  new  time  problems  in  the  songs  of  this  chapter,  though 

the  follo\\"tng  now  measure-forms  occur  : 


Six-eighth  measure 


a) 


(1)  iTf  0  W  C' 

(2)  ^"^  c  r- 


p 

u* 


(3)  zrs  ^  ' 

(4)  Sir :  fiir  : 


All  of  these  measure-forms   appear  in  the  song  "Morning,"     Book 
Three,  pages  150  and  151,  Manual,  Vol.  Ill,  page  252. 

III.  Theory  DrUl 

1.  The  meaning  of  the  characters  of  notation  and  mai-ks  of  e.xpression, 

as  thej'  occur  in  the  songs  of  the  course,  should  be  explained  to 
the  pupils. 

2.  Review  the  class  on  the  following  points  of  mvisical  theorj^ : 

(a)  Building  Major  Scales.     (See  Manual,  Vol.  Ill,  i)age  67.) 
(6)  Building   Minor  Scales,    Natvu'al,    Harmonic,  and   Melodic. 
(See  Manual,  Vol.  Ill,  page  73.) 

IV.  Song  Analysis  and  Interpretation 

In  the  songs  of  this  chapter  the  pu])ils  should  be  led  to  study  the  tone, 
time,  and  theory-  problems  as  they  find  them  in  the  notation  of  the 

1  Book  Three,  pages  129-152. 


110  TEACHER'S   MANUAL 

song;  where  there  are  j)r()l)l(Mn.s  which  seem  to  offer  such  difficulties 
that  the  sight  reading  woukl  not  l)c  effective,  tlie  ])roblein  should  be 
placed  upon  the  board  and  the  class  drilled  upon  it  until  ready  to  at- 
tack the  sight  reading  of  the  song. 

The  class  should  also  read  the  words  of  the  song  before  singing  it, 
and  should  discuss  the  interpretation  which  should  be  given  to  the 
song,  deciding  from  the  notation  and  from  the  text  the  character  of 
tone  quality  and  tempo,  as  well  as  other  points  of  interpretation  which 
will  best  express  the  sentiment  of  the  composer. 

Because  the  material  of  this  chapter  is  in  the  nature  of  a  review,  it  is 
thought  unnecessary  to  give  a  detailed  analysis  of  the  technical  prob- 
lems or  of  the  interpretation  of  each  song. 


CHAPTER  OUTLINES 


HI 


CHAPTER    XV.     COMPLICATED    RHYTHMS 


I.    Tone  Drill 


There  are  no  new  tone  problems  in  the  songs  of  this  chapter. 

The  chiss  slioulil  I'eviow  ; 

(a)  Drill  in  Modulations.     (See  ])age  78.) 

(6)  Four  Tones  Ascending  Chromatically.     (See  page  100.) 

(c)   Four  Tones  Descending  Chromatically.     (See  page  105.) 


II.    Time  Drill. 
1. 


Complicated  Rh\-thnis. 

In  each  iiistauce  (he  new  rliytlim  is  to  he  written  upon  the  board 
and  studi(>d  from  its  relationshij)  to  the  boat.  The  teacher  then 
gives  a  pattern  of  the  new  rhythm,  which  the  pupils  practice  to 
the  descending  scale  until  mastered.  The  class  is  then  ready  for 
the  study  of  the  measure-form  in  which  the  rhj^thm  is  found. 

Many  of  the  rhythms  involve  a  carrying  over  of  the  tone  from  one 
beat  into  another.  AMioro  tliis  is  the  case  it  will  be  necessary  for 
the  rhythmic  pattern  to  include  the  two  or  more  beats  involved 
in  the  complete  rhythm.  Furthermore,  in  the  study  of  the.se 
rhj'-thms  the  measure-forms  should  be  placed  upon  the  board 
and  the  children  should  indicate  by  figures  the  point  in  the  nota- 
tion at  which  each  beat  occurs.  A  similar  analysis  should  be 
made  of  the  difficult  rhythmic  pi-oblems  as  they  occur  in  the  songs, 
each  difficult  measure  being  analyzed  according  to  the  points  at 
which  the  beats  occur,  before  attem])ting  to  read  the  song. 


Two-quarter  measure 


(I) 


Three-quarter  measure 


(I) 


(1) 

0  0  0  0 

55 

>    0      0 

(2) 

^      P    ^      ^ 

(3) 

»    P  9 

C 

-I 

(4) 

•    P  P 

»    p 

p 

(5) 
(6) 
(7) 

p- 

(8) 

(0) 
(10) 


p      » 


p 


m  » 


p   »  • 


Four-quarter  measure     (-\ 

(11)  r      r-      ; 

(12)  r  ^5^:::: 


^ 


112  TEACHER'S   MANUAL 

Six-eighth  measure    [  - 


(13) 

f          2  2^- 

(14) 

f           ^        ^             mm 

(15) 

:  c  -^   c  c  ^ 

(16) 

!-='£='  r     c 

(17) 

•           p      ^  0  0 

(18) 

:  "^  ^    ^    =i55J 

(19)  it  ^^f 

(20)  :•  5:  :  r 

(21)  r     ::  >^  : 

(22)  ^ :  :  5  5  ^  : 

(23)  r*       -  5? 

(24)  r-       •■  c  ^ 


III.  Theory  Drill 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expi'ession, 

as  they  occur  in  the  songs  of  the  course,  should  be  explained. 

2.  Review  the  construction  of  the  Chromatic  Scale  Ascending,  and  the 

Chromatic  Scale  Descending.     (See  pages  100  and  105.) 

IV.  Song  Analysis  and  Interpretation 

The  interpretation  of  the  songs  should  be  carefully  studied  by  the 
pupils  with  reference  both  to  the  musical  content  and  to  the  text. 

Dragon  Flies;  Book  Three,  page  153.     Manual,  Vol.  Ill,  page  261. 
TIME  :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  15,  17,  and  18. 

The  Fountain;  Book  Three,  page  154.     Manual,  Vol.  Ill,  page  256. 
TIME  :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  16  and  20. 
THEORY  :  The  song  is  in  the  key  of  E  minor. 

Themes;  Book  Three,  page  155. 
TIME :  The  themes  include  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  8  and  11  (see  page  111) ;  and  25  and  26. 
(See  page  112.) 
theory:  "Grazia."     See  Glossary. 


CHAPTER   OUTLINES  113 

Lullaby;  Book  Three,  page  150.     Mamuil,  \ol.  Ill,  page  258. 

TIME  :  The  song  inchides  the  measure-forms,  found  in  the  Time  Diill 
for  this  chapter,  numbers  13  and  11).     (See  page  112.) 

Skating  Song;  Book  Three,  page  157. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill 
for  this  chapter,  nuniljcr  12.     (See  page  111.) 

The  Southland ;  Book  Three,  page  158.     Manual,  \'ol.  Ill,  page  2()2. 
TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this'  chapter,  numbers  2  and  7.     (See  page  111.) 

The  Low-backed  Car;  Book  Tlu'ee,  page  IGO. 
TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  luunbers  21,  22,  23,  and  24.     (See  page  112.) 

Jack  Frost;  Book  Three,  Page  162.     Manual,  A'ol.  Ill,  page  264. 

TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  3  and  4.     (See  page  111.) 
theory:    "Pochiso."  1 

"  Scherzando."  )  See  Glossary. 

"Dal  Segno,  D.  S."  j 
The  song  is  in  the  key  of  A  minor. 

Ladybird;  Book  Three,  page  1G3.     Manual,  Vol.  Ill,  page  275. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill 
for  this  chapter,  number  1.     (See  page  111.) 

The  Boys'  Song;  Book  Three,  page  164.     Manual,  Vol.  Ill,  page  267. 
time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

for  this  chapter,  numbers  5  and  6.     (See  page  111.) 
theory:  Beginning  in  tlic  key  of  D  minor,  the  song  closes  in  the  key 

of  D  major. 

Choral  Song  of  Illyrian  Peasants;  Book  Three,  page  166. 

time:  The  song  includes  the  measure-form,  found  in  the  Time  Drill  for 
this  chapter,  number  14.     (See  page  112.) 

Come,  Dance  with  Me ;  Book  Three,  page  168.     Manual,  Vol.  III.  page 
270. 
time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  9  and  10.     (See  page  111.) 


114  TlCACliEH'rS   MANUAL 


CHAPTER    XVI.'     MODULATIONS   TO    REMOTE    KEYS 

I    Tone  Drill 

1.  No  new  tone  drills  are  necessary  as  preparation  for  the  study  of 

this  chapter.  The  students  should  review  the  drills  of  Chapter 
V,  Manual,  Vol.  Ill,  page  78.  It  will  be  observed,  in  the  study 
of  the  songs  of  Chapter  XVI,  that  frequently  the  observance  of 
the  "bridge  tone"  is  unnecessary,  and  the  student  can  proceed 
directly  from  the  last  tone  in  one  key  to  the  first  tone  in  the  new  key. 

2.  Where  it  is  desired,  more  advanced  modulations  may  be  studied  by 

using  any  tone  of  the  chromatic  scale  as  bridge  tone  to  an}'  other 
tone  of  the  major,  minor,  or  chromatic  scales. 

do  t/o_ 

U  ti-do 

li  li-ti-do 

la  la-so-fa-mi-re-do 

si  si-la-so-fa-mi-re-do 

so  so-fa-mi-re-do 

fi  fi-so-fa-mi-re-do 

fa  Ja-mi-re-do 

mi  mi-re-do 

ri  ri-mi-re-do 

re  re-do 

di  di-re-do 

do  do 

do  do 

ti  ti-do 

te  te-la-so-fa-mi-re-do 

la  la-so-fa-mi-re-do 

le  le-so-fa-mi-re-do 

so  so-fa-mi-re-do 

se  se-fa-mi-re-do 

fa  fa-mi-re-do 

mi  mi-re-do 

me  me-re-do 

re  re-do 

ra  ra-do 

do  do 

1  Book  Three,  pages  16&-175. . 


CHAPTER   OUTLINES  115 

II.    Time  Drill 

There  are  no  new  time  problems  in  the  songs  of  this  chapter. 

m.   Theory  Drill 

1.  The  meaning  of  the  characters  of  notation  and  marks  of  expression, 

as  they  occur  in  the  songs  of  the  course,  should  be  explained  to  the 
pupils. 

2.  Modulations  to  Remote  Keys.     The  modulations  in  this  chapter 

are  effected  in  the  same  manner  as  the  modulations  in  Chapter  V. 
A  review  of  the  tone  studies  of  bridge  tones  for  that  chapter  will 
be  helpful  here.  Remote  keys  are  those  in  which  few  tones  are 
common  to  both  keys.  A  large  difTerence  in  tiie  number  of  flats 
or  sharps  in  the  kej^  signature  indicates  a  remote  key  relationship. 

IV.    Song  Analysis  and  Interpretation 

Each  song  of  the  chapter  is  to  be  carefully  studied  before  the  children 
attempt  to  read  it.  This  study  should  take  the  form  not  only  of  a 
discussion  of  the  technical  points  involved  in  the  song,  such,  for  in- 
stance, as  the  tone  problems,  including  the  modulations,  the  time 
problems,  etc.,  but  should  also  include  a  careful  consideration  of  the 
interpretation  of  the  song  from  the  standpoint  both  of  its  musical 
content  and  the  ideas  in  the  text  of  the  song.  It  has  not  seemed 
necessary  to  give  details  regarding  technical  problems  or  interpreta- 
tion of  the  songs  of  this  chapter,  because  the  pupils,  under  the  guid- 
ance of  the  teacher,  should  be  able  to  determine  these  matters  for 
themselves. 


116  TEACHER'S   MANUAL 

CHAPTER   XVII.'     CONTRAPUNTAL   STYLE 
I.   Tone  Drill 

There  are  no  new  tone  problems  in  the  songs  of  tliis  chapter. 

II.   Time  Drill 

There  are  no  new  time  problems  in  the  songs  of  this  chapter,  although 
the  following  measure-form  appears  for  the  first  time  : 

Three-quarter     /3\     See  "In  Life  if  Love  We  Know  Not,"  Book 
measure  \4)         Three,    page    181;     Manual,  Vol.   Ill,   page 


U  u  u  ^  u 


284. 


III.  Theory  DriU 

1.  Contrapuntal  Style.     The  term  "contrapuntal"  means  that  the 

different  voices  or  parts  are  of  equal  importance  and  are  independ- 
ent. This,  for  example,  is  the  case  in  rounds,  all  parts  being 
equally  important  and  independent  of  each  other.  One  or  two 
canons  have  already  been  studied.  A  canon  is  similar  to  a 
round  with  the  exception  that  the  singers  do  not  go  back  and  sing 
the  same  music  over  again,  but  one  voice  sings  the  melody  through 
once,  and  the  other  voice  follows  a  little  later.  Canons  may  be  not 
only  in  the  unison,  in  which  case  a  second  voice  follows  the  first 
voice  with  the  same  tones,  but  may  be  at  different  intervals,  the 
second  voice  following  the  first  on  different  tones  of  the  scale. 
"Apollo's  Cows,"  page  176,  is  a  canon  in  the  unison,  while  "The 
Swing,"  page  178,  begins  as  a  canon  in  the  unison  but  in  the 
last  measure  of  the  second  brace  becomes  a  canon  in  the  fourth 
below,  the  second  part  following  the  first  part  a  fourth  lower. 
On  page  179  we  find  a  three-part  canon  in  the  unison,  and  on 
page  181  another  canon  in  two  parts  in  the  fourth  below. 

2.  The  key  of  C-sharp  major  appears  for  the  first  time  in  the  three- 

part  round,  "Turn  Again,  Whittington,"  Book  Three,  page  177. 

IV.  Song  Analysis  and  Interpretation 

Before  sight  reading  the  songs  of  this  chapter  the  students  should  give 
careful  study  to  each  song,  both  from  the  standpoint  of  the  technical 
elements  of  the  song  and  from  the  standpoint  of  the  interpretation. 

J  Book  Three,  pages  176-183. 


CHAPTER   OUTLINES 


117 


CHAPTER  XVIII.     THE  DOTTED  QUARTER  NOTE  BEAT  ;  ADVANCED  STUDIES 

I.  Tone  Drill 

There  are  no  new  tone  problems  in  the  songs  of  this  chapter. 

II.  Time  Drill.     The  Dotted  Quarter-Note  Beat ;   Advanced  Studies. 

There  are  no  new  problems  in  the  division  of  tones  within  the  beat, 
but  the  measure-forms  are  new  in  that  three  and  four  beats  to  the 
measure  are  offered  for  study  in  the  Dotted  Quarter-Note  Beat. 
Where  there  are  tliree  beats  in  a  measure,  the  time  signature  is 
nine-eight ;  where  there  are  four  beats  in  a  measure,  the  time  signa- 
ture is  twelve-eight. 


Nine-eighth  measure     f  ^  ) 


(1) 

1 

f 

> 

n 

(2) 

p 

r- 

(3) 

r 

m 

• 

1 

0 

r 

p 

/  A\ 

# 

J 

• 

0 

0  0 

• 

(4) 

i 

i 

\y 

Ml^ 

u 

(5) 

^ 

• 

0 

p 
^ 

0 

• 

(6) 

w 
i 

• 

0 
J 

z 

0  . 
1 

(7) 

m 

w      p 
^         ^ 

r 

c  r 

(8) 

(^ 

liK' 

(9) 

C 

0           0 

0 

m       0 

• 

0 

0 

0           0 

• 

(10) 

^^ 

ij 
0 

0           0 
0           P 

l*« 

(11) 

0 

J 
0 

• 

(12) 

0 

(13) 

0 

(14) 

•     0 

0 

(15) 

p  ■ 
1 

0  . 

m  0 

0 

(16) 

:J^ 

U» 

/  1  "^X 

0  0 

0  . 

P         T 

1 

(10 

^bS     ^ 

(18) 

1 

0 

1 

I 

0 
0 

0         0 

1^         ^ 

•  • 

(19) 

0 

118 


TEACHER'S   MANUAL 


(20) 
(21) 
(22) 

(23) 
(24) 


(25) 
(26) 
(27) 
(28) 

(29) 

(30) 
(31) 
(32) 
(33) 

(34) 


1       ^ 


:  r 


i^    k 

^ 


^^ 


!^^ 


-1    1 


~V         -I 

^   »   -1 


* 
U 


Twelve-eighth  measure     ( "^  ) 


0 


I 


r- 
:  r 
r 


m 


^ 
k 


y    I 


r 


_•  ^^ 


1^ 


in.   Theory  Drill 

Theie  are  no  new  theory  problems  in  this  chapter,  although  the  new 
time  element  introduces  the  new  time  signatures  nine-eight  and 
twelve-eight.  These  are  explained  under  the  Time  Drill  of  this 
chapter. 

IV.   Song  Analysis  and  Interpretation 

The  interpretation  of  the  songs  in  this  chapter  should  be  carefully 
studied  by  the  students,  having  reference  both  to  the  musical  con- 
tent of  the  song  and  to  the  text. 

Winter  Longing;  Book  Three,  page  184.     Manual,  Vol.  Ill,  page  290. 
TIME :  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 

of  this  chapter,  numbers  1,  2,  3,  5,  6,  7,  and  21.     (See  page  117.) 
THEORY :  The  song  is  in  the  key  of  C  minor. 

The  Joys  of  Summer ;  Book  Three,  page  185.     Manual,  Vol.  Ill,  page  283. 
time:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  18,  19,  and  20.     (See  page  117.) 


CHAPTER    OUTLINES  119 

Sweet  Repose  is  Reigning  A'oiv;  Book  Tluee,  page  ISfi. 

time:  The  sons  includes  the  nieasure-fornis,  found  in  the  Tunc  Drill 
for  this  chapter,  luniibers  8,  9,  and  10.     (See  page  117.) 

Themes;  Boole  Tiirce,  page  187. 

time:  The  themes  include  the  measure-forms,  found  in  the  Time  Drill 
for  tliis  chapter,  numbers  15,  23,  28,  and  30.     (See  pages  117  a)id 

118.) 

The  Cuckoo  Clack;  Book  Three,  page  188. 
TIME  :  The  .song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  16,  17,  22,  and  24.    (See  pages  117  and  118.) 

In  the  Garden;  Book  Three,  page  190. 

time:  The  song  includes  the  measure-forms,  found  in  the  Time  \hi\l 
for  this  chapter,  numbers  4,  11,  12,  13,  and  14.  (See  pages  117  and 
118.) 

He  Shall  Feed  His  Flock;  Book  Three,  page  192.     ^Manual,  \'..l.  Ill,  jiage 
289. 
tlme:  The  song  includes  the  measure-forms,  found  in  the  Time  Drill 
for  this  chapter,  numbers  25,  20,  27,  29,  31,  32,  33,  and  34.     (See 
page  118.) 


120  TEACHER'S  MANUAL 


PART   FOUR  —  PATRIOTIC   AND   DEVOTIONAL   SONGS 

These  familiar  selections  are  given  in  the  form  of  four-part  nmsic  for  soprano, 
alto,  tenor,  and  bass.  It  is  not  expected  that  there  will  be  bass  voices  in  classes 
using  Book  Three.  The  songs  are,  however,  presented  in  this  four-part  ar- 
rangement that  tlie  children  may  learn  to  follow  their  parts  in  such 
an  arrangement. 

Occasionally  in  classes  using  Book  Three  some  of  the  boys'  voices  may  have 
lowered  sufficiently  to  enable  them  to  carry  the  tenor  part.  In  such  cases 
these  pupils  may  be  able  to  sing  the  tenor  by  following  the  voices  of  pupils 
who  have  learned  to  read  from  the  bass  staflf. 


PART  FOUR 

ACCOMPANIMENTS  FOR  SONGS  IN  BOOK  THREE 


M.  Louise  Baurn 
From  the  French 

A   .  Moderato    J=  leo 

it 


The  Pearl 

(Book  Three.p.S) 


Franz  Joseph  Haydn 


^ 


* 


i 


M 0. 


m    m 


i 


m 


m    m 


M m. 


m 


^ 


p^ 


mf 


^^ 


u 


f. 


p 


^^ 


^ 


^n 


^ 


^ 


cresc. 


^ 


■     ■ 


£3E 


^m 


1. 


^^^ 


On   a       rose  leaf  fresh  and  fragprant, Lay  a     shi- ning  drop  of     dew;  Came  a 
So  the  dew-drop  reachcl  the    o-cean,'Neaththeblue  to  toss  cind  whirl ;Then white 


^ 


^FT'f  d 


^M 


m 


¥ 


F 


rpT 


»H— *■ 


f 


cresc. 


^^ 


^^ 


^^ 


^^ 


^ 


cresc. 


r  r  r  ^  I  f  r  r  i^^ 


£ 


^sp; 


a     ■ 


bird  and  bent  the 
pris-  on  walls  en 


rose-bush,Sway'd  and  swung- there  just  to       woo,    Till    the     drop  fell    in     the 
-   fold    it,   All    its      rain-bow  col- ors      furl,    Till    at       last  the  shell  falls 


^ 


^^ 


^ 


^ 


^ 


' — ■ — * 

■    ■ — ' 


f 


fTTT 


T 


cresc . 


^ 


^^ 


^ 


M m. 


m 


^p^ 


i 


>^f 


H- 


e 


r  ^  r "  'r 


s 


brooklet, Seeking- 
o  -  penWithits 


aye  the  boundless    fclue. 
pure  and  shi  -  ning-     pearl. 


r~0  r-j 


% 


i 


^ 


^ 


•V 


^^ 


^ 


f 


nj^ 


Fine 


V'l.''  r  t  r  J 


5t 


^ 


^ 


^ 


^? 


D.S. 


T.  M.  Vol.  Ill— 9 


122 


Susan  Jewett 

A       J=  144 

nr 


To  the  River 

(Book  Three,  p.  6) 


Ludwig-  van  Beethoven 


P      # 


^N 


i."l  r  r 


^^ 


r  r  r  r  ir  r  ' 


-• — -»■ 


Gen- tie       riv- er,    gfen-tle       riv- er,  Tell    us    whith-er    do     you      glide    Thro'  the 


^ 


4^ 


^hh^ 


^^ 


^=#^4 


^ 


^ 


tHHTzt 


WUW 


mrzm 


^ 


# «. 


« — » 


^ 


^^ 


^^ 


^ 


green  and     sun  -  ny        mea- dows, With  your    sweet -ly      mur-m'ringr      tide?  You     for 


P 


^i^M 


^^ 


J   J  JJ 


i 


#* 


^cJ'^i/ 


IfisUlJ 


tTtnnr 


r 


m 


M m. 


# # 


i 


^ 


Oi      ? 


*        * 


r  If  r  r  r 


^ 


ma-nya    mile   must      wan-der,    Ma  -  ny  a        love  -  ly      pros-pect         see;     Gen  -  tie 


'I'"  LisistjUisiiliA^ 


=it==ii 


^ 


# — *- 


E 


^m 


^^ 


r    f    f   f 


^^=^ 


1? — W 


r  I  F  ' 


^ 


^ 


r 

riv  -    er,      g-en  -  tie  riv  -    er,       Oh,      how        hap-   py       you      must 


P 


m 


^7  J  r  J  ■  J  ■ 


^ 


i 


t/D/t:;^ 


J.J.  j,J, 


bet 


Past  Three  O'clock 

(Book  Three,  p .  6) 


James  Fortescue 

Andaiite    J  =  96 


Past    three    o' 


clock. 


and    a  cold,      froa  -  ty 


123 


Eng-li*  Folk   Song- 


morn 


lag: 


J   n^ 


poco  cresc. 


^ 


^ 


rT~T 


1.  While     in       your        beds     you're      peace-  ful   -  ly         sleep  -  ing-,         Un  -  der     the 

2.  We      g^o       the         round,     you          rest     at      your        lei    -  sure;       Safe   is      ycur 
breaks,   and       slum  -  ber     is            end   -  ed, 

I 


3.  When    mom  -  ing 


^ 


^     PP 


IE 


i     i    I    i  i^ 


stairs       our        watch     we     are  keep  -  ing .  Past  three    o' 

house       and  safe      is        your         treas  -  ure .  Past  three    o' 

thanks,  your        homes  who've  de      .       fend  -   ed.  Past  three    o' 


^ 


clock,  and  a 
ctbck,  and  a 
clock,        and  a 


^m 


m 


it 


^ 


^liiiiij.  » 


cold,  fros  -  ty        morn 


ing:  Past  three  o'    -     clock,  good    mor-row  masters 

i    J   i  i 


"cr- 

all. 


124 

Alice  E.Sollitt 
Frwn  the  French     . 

Andajite  J  =  60 

Ji 


Swallow,  Swallow 

(Book  Three,  p  .  7) 


Franz  Joseph  Haydn 


^'  Ji  Ji  J'  J'  I  J'   J'  .1        I  I'  ^^ 


l.SwaJ-low,  swaJ- low;       far      a  -   way,  To      the  South- laiid      wing     -       iiig  ,■ 

2  Swal  -  low,  swaJ  -  low,      fare   thee    weU,  Till  some  bright    to     -     mor      -        row. 


!"'JiJi^ 


^m 


^m 


^m 


^  ^xi_i 


£L/f 


''  J'  J''  i'  J'  uJ'  J'  r     If  r  ^'  ^>  I  r     ^ 


Gray     the      sky    and     drear    the     day. 
When    the  spring;  o'er     field     and     fell. 


Wild    the   North  Wind's        sing      -       iiig. 
Ban  -  ish  -    es         our  sor       .        row. 


) 


cresc. 


E 


^ 


?  "j/" 


f'   P     F    P   If 


s 


Haste   thee,  friend,  fly        fasl    and    far. 
Haste  thee,  then,  wher  -    e'er    thou    art. 


Flee  -  Lng      win  -  ter's        sad      -        iiess ; 
Spring's  sweet  prom  -  ise  sing      -      iiig; 


^^m 


s 


^p 


i 


^ 


i 


i* 


p 


i^ 


f 


m 


Haste  thee,  friend,  fly         fast    and     far.  Seek  -  ing^  sum  -  mer's      glad      -     ncss. 

Haste  thee',   thPii,  wher  -  e'er    thou    art,  Sum  -  raer's  glad  -  ness       bring      -     ing. 


^ 


^^^ 


3-^ 


^Ji^l^ff" 


» —  • 


Autumn  Holiday 

(Book  Three,  p.  8) 


Abbie  Farwell  Brown 
AllecTo  J  =  144 


125 


Welsh  Melody 


iejgro  4  ZL 


^ 


_2_ 


'>'-''J^'^'    i^iil 


±± 


Come,  my  comrades. 

Come,  my  comrjides, 

Up  a  -  long-  the 

Care  and  woe    we 


hear    the    cho  -  nis.  Fa  la  la  la  la 

taste  your   lei  -  sure.  Fa  la  la  la  la 

coun  -  try  high-ways.  Fa  la  la  la  la 

leave    be -hind     us,  Fk  la  la  la  la 


la 
la 
la 
la 


la  la  la 

la  la  la 

la  la  la 

la  la  la 


^ 


1. 


^,i    pi    J 


$ 


V 


t\  J-  J  J  J 


m^^-  j'uu 


Hap  -   py  hours   are  spread  be  -   fore     us, 

Lo,      this    day   was  made  for     pleas  -  un;, 

Down    the     lit  -   tie  lanes  and     by  -  ways. 

As       the    mer-  ry  strains  re  -  mind     us. 


w 


Fa  la  la  la  la  la 

Fa  la  la  la  la  la 

¥a.  la  la  la  la  la 

Fa  la  la  la  la  la 


1 


J- 


rjJ   J 


la  la  la . 

la  la  la . 

la  la  la; 

la  la  la . 


T 


[iJ'lI'i    I 

N    J        1    1 

=F= 

=1H 

7 

1  J>  h  J 

=^a= 

—•- 

•iC 

1  ' 

Come 

Trees 

0    - 

Come, 

■^  i>  1,    d 

and  trip     it 
aie  glow  -  ing-, 
ver  hill      and 
my   comrades, 

p 

in 
Helds 

in    - 
sing 

tJbe  ra< 
are  gc 
to    va 
the  ch 

• 
;a  -  dow^, 
1  -    den, 
Ll    -  ley, 
o  -   rus, 

d     «     f  — 

Ya.   la    la 
Fa  la     la 
Ri  la    U 
F^  la    la 

"T~ — ■ — 

la     la     la 
la    U     la 
la     la     la 
la     la     la 

1 

— i- 

la 
la 
la 
la 

-4*- 
1 

fe 

la 
la 
la 

—  •— 

ri 

la, 
la: 
ia. 
la, 

f 

\t\    J:       J  J       j 


JJ      IJ'J.       jlj-^-^ 


r  7 

Fk  la  la  la  la  la 

Fk  la  la  la  la  la 

Fk  la  la  la  la  la 

Fa  La  la  la  la  la 


s 


Ere  the    evening-    spreads  her   shad-ows, 

Sing-  the    song  of         a    -  ges      ol  -   den, 

Here  we    race    and     there  we      daJ  -  ly, 

^fIa    -  ny  hearts  have    sung-  be  -   fore     us. 


± 


■I.J     ^^     J 


^ 


la  la  la  . 

la  la  la . 

la  la  la . 

la  la  la . 


Pl 


126 

Martha  Hanley 

Rattier  fast   J=  104 


Where  Go  the  Winds 

(Book  Three,  p.  9) 


s 


m 


•>  V 


Adolf  Weidigr 

Compcstfd  for  ihJs  Sarirs 


^ 


-»- 


^ 


P 


V)'      /■' 


1.  Wht're  did  the  north  wind  go? 

2.  Where  did  the  east  wind  go? 
;{.  Where  did  the  sopth  wind  go? 
+.  Where  did  the    west  wind  go? 


Where  did  the  north  wind 

Where  did  the  east    wind 

Wtere  did  the  south  wind 

Where  did  the  west    wind 


^: 


^ 


¥^ 


?=* 


./■ 


^ 


■^ 4 .i 


^ 


-e- 


r 


i 


''O'l  r  V'  r  ^'V'  >  I  ^  ^'  J'  r 


2i 


go  '  ■ 
go? 
go? 
go? 


A  .   way  and   far     a  -  way 

Li  haste  to    daish  the  rain 

It  sof  -  tly,  gen.  tly  sped 

Tb  gen  -  tly  rock  the  nest 


To 
A 
To 
Of 


•J     v>* 


^S 


m 


toss  the  kites    at  play; 

guinst  the  window  -  pane ; 

kiss  the   ro  -  ses  red ; 

lit  -  tie  birds   at  rest; 


^^ 


P5^ 


^r     T  ^ 


( 


g 


:rr7^ 


1/ 


m 


•SES^ 


iiz. 


P    P    P    ^'    ^'  ^ 


That's       where     it      went,     O   -    hoi 


Thai's       where     it     went,      O    -    hoi     O- 


) 


m  n  J 


^ 


^=^ 


^ 


i=* 


^ 


^ 


J)y 


^ 


J  J  J.  J.  F  ^'  r- 


-^ 


Ov 


^ 


^ 


f^ 


ho,   yeo-ho!    O-  ho,  yeo-ho!    That's  where    it   went,         O 


-# 0- 


^ 


^ 


l^^^^-^-t^JU^^ 


/ 


^ 


j^; 


ho! 


t^ 


Pauline  Frances  Camp 
Moderate  J=  84 


Welcome  to  Autumn 

(BookThree.p.lO) 


127 


Peter  I .  Tschaikowsky 


i 


F^ 


rnf' 


^ 


m 


^ 


m 


T7 


J^vHl 


1.     The         Summer's  tale    is 

,-^'^^,    I    r~^i        r^  I     I  '^  2.     But  nev-erheed  nor 


i 


^ 


m 


^^ 


■ — t 


# — •• 


0 — 0- 


J_ 


i 


^^ 


rr^ 


t> 


m 


m 


F^f 


^ 


o  -         ver.    And  the  rest  -  less      ro 

mind  him,  Since  he  leaves  be   -    hind 


ver    Turns  a- way   to       leave  us, 

him  Autumn  m      his      g^lo      -      ry, 


i 


fe 


S 


^ 


m 


f^=mt 


^W^ 


f 


'r\)\>  Y^^  ^ 


f 


^ 


£SE£ 


^^^ 


r 


^^ 


E 


f 


Careless  if     he      grieve      us . 
With  his  gt>l- den      sto    -      ry. 


kk: 


m 


i 


m 


i 


HID  jTun  rnrnmiP 


m 


m 


^ 


f 


# — ^ 


1 


fe 


«j 


Tn 


^H>  f  r  r 


^ 


mT5  mrn  rm 


^ 


r  rrirrf"iy"i 


p^     rfm . 


^Si 


/'PP 


g 


isir 


128 


John  Greenleaf  Whittier 
A     Andante  lento     J  =  93 


The  River  Path 

(Book  Three, p.  11) 


Georg^e  W.  Chadwick 

Conposed  for  Ihis  Series 


fj-+f  i  n  m 


j'j'J'iJ  j  j  B 


s 


^T 


he  hill, 


No  bird    song  floa  -  ted      down  the  hill.  The  tan-g^led    bank     be   -  low      was 

dusk    of      twi- light  round  us  grew,         We   felt    the     fall  -   ing-      of         the 


P^ 


i 


^^ 


m 


^^^ 


¥ 


zc 


# 


J  i.nJ  rn 


p 


^ 


-&^ 


still; 
dew; 


No  rus   -   tie         from      the 

For,  from     us,  ere       the 


birch  -   en        stem,     No 
day       was      done.     The 


i 


m 


^m 


i>j  i  j  i  ii^  J^ 


nrTrrn 


3=^F 


"* — » — • 


^p 


i 


^ 


^ 


p 


f  V  r  r  J 


i 


The 

sun.  But 


rip  -  pie    from    the 
wood  -  ed     hills    shut 


wa 
out 


ter's 
the 


hem. 


!'"^TO 


^^ 


^ 


rz-r 


^-^. 


'n  ?  r  r 


i 


-<s-^ 


L^'  ^^^ii'iV 


f   ■<■ 


i 


#^^ 


^ 


on        the  riv-  ers      farther  side       We        saw  the  hill-tops      gplo 


ri    -     fied. 


f  ~'>|j  < 


i 


^ 


^^ 


^ 


-^'-=- 


Mary  Wilder  Pease 
Larghetto  J  =84 


Daffydowiidilly 

(Book  Three, p  12) 


129 


Mareraret  Ruthven  Lajig" 


^ 


t  r;  ih  j;p-j-i  j-j  j  I  rj  J 


m 


1.    Your 


prtt 
did- 


ty 

you 


gown . 
leave  - 


of  yel 

your        win 


low 

ter 


'■^''i'  a 


i 


m 


^ 


m 


5E 


■4 « 


-5-^5r 


^    -» 


mp 


^ 


i 


^ 


P 


7 I         I — ^ 7  . 


hue, 
furs? 


Dear  lit  -  tie        gar    -     den        fair" 
You  knew  the       winds     were      chil 


y. 

ly- 


I'm  sure 

May         Pus 


IS 

sy 


^m 


1 


^^ 


m 


^^ 


^  » 


much        too       thin  for      you, 

Wil    -     low      lend         you      hers, 


§ 


S 


^ 


^ 


^ 


^m 


i 


s 


^ 


It's       made        so 
Dear     lit     -      Ue 


light         and       air 
Daffy  .  down  -  dil 


^ 


=1       ^     j- 
"^ — ^^ — i- 


i^ 


DOZ 


130 


Distant  Sweden 


.       ■      »T  n  (Book  Three, p.  12) 

Louise  M.Bray  '^ 

From  the  STUcdish  . 

Andantino  con  espressione  J  =  66  ^  ~^ 


Swedish  Folk  Songr 


i 


^ 


^ 


s 


O 


^'       ■  *' 


^ 


w 


^ 


JL 


f^n 


o 


Swe     -     den,   far    -     off 


1 


I 


=^3 


u      ^ 


f 


I 


'n/' 


dim. 


^^^i^=T 


m 


^      4 


S  •       '     d 


T 


^ 


p  p  I  J'  j^'   Ji  I  /;   J  J 


P 


eyes       toward  thy     shores    are     ev    -     er  turn      -       ing-. 


^^ 


^^ 


^ 


t_J 


r. 


s 


^ 


^ 


pp 


^ 


U 


'       |W      |r-i(" 


^T'  I  r-      : 


r  i'.  ^ 


^=^ 


see  thy  snow,capp'd      moun   -    tains    a      -      glow         in       the  ligtit; 


a 


m 


i 


^^ 


« # 


t»= 


i^ 


I 


^ 


^ 


r 


131 


^ 


^ 


^ 


^ 


/, 

^^ 


cross  bound -less        seas     for    thee      Fm  yearn     -       ing- , 


Once 


i 


^^ 


f 


r 


PE^ 


r_ 


P 


zat 


p/; 


V 


^ 


T 


*-=- 


F 


W71  ^oco  piu  Tnosso 


± 


j>oco  rit._ 


^ 


Tempo  I 


't 


I'     I       J'-       ii     ^-^ 


more       the  flocks  I 


lead  ua  -  to  pcis  -tures    on     the  hills,         Throujjh 


^ 


w. 


w 


:jf 


un  poco  piu  mosso 


»f 


=yF^ 


5fe 


/>oco  rrt    ;^^ 


^^ 


S 


P3 


r 


r 


^-"tJ 


J 


i 


^5 


^ 


m       m 


^ 


?  w/* 


^ 


^^ 


^ 


■■'       p       ^  J 


/ '^ 


si   -    lent    leaf-y  for    -       ests  where     leap    the   foam-  ing-  rills; 


^ 


^ 


t8  3     - 


3  r-3 


Once 


^^ 


^ 


^ 


^ 


V 


^ 


^ 


i 


i'  I  J'  J' 


poco  lit. 


^-^ 


* 


d   >         ^ 


more       smile     thy        peace -ful     skies        a      -       bove me. 


) 


^=^ 


M 


t  t* 


I 


1?^    ^ 


132 


Minnie  Leona  Upton 
Mernly  J.=  104 


The  Meadow 

(BookThree.p.  13) 


Howard  Brockway 

Coirpatfd  tir  tbjs  Series 


Oh,  mer  -  ry    is 


J' I  J   Jm   jM  J   J' J  ;'i  J.  J'^ 


mer-  ry    is        the      mea  -  dow    in       the      sun-  ny  summer's     prime;         The 
hap  -  py    are      the       chil  -  dren    in       the      mea-  dow  fair     at       play,  With 


^ 


J     ^J     Ji 


J     J'  J     I 


w 


J  Jll  > 


m 


"j  f- 


? 


r 


^-=- 


T    r 


1 
1^ 


^^ 


^^^ 


?=9^ 


^^ 


^''   J      t.  J     i' 


J     J^J     J'l   J' 


^^ 


r 


y^ 


,^ 


dear- y,  cheer- y       daya___  When.Moth-er  Na-ture     plays.      And   the     lit  -  tlebrooksare 
but-  ter-cups  all     bright, _     And  dai  -  eries  left  and      right;     Bees  iind     but-  ter- flies   and 


^ 


^ 


m^ 


i 


=i=± 


5 


^ 


*?   r    ■/ 


S 


i 


P 


^ 


^ 


^,>  n 


^ 


J^^  r?  M 


-Zj 


^-M-J^ 


^^ 


♦±:=zi 


singing,with  the  breez-es     keep-ing-     time! 


Oh, 


^^ 


i 


i 


^ 


i 


^ 


x: 


r 


h>^^  r  */ 


19-^ 


^ 


y 


7  ^   ^ 


7  r  ^ 


rr 


A 


^fct 


(2 


J  Jm.  I 


S^^^a4l 


^?^ 


^'ir '  fi  '-r'^ 


? 


bob -o -links,  a-  bove  the  flowers        gay,  A  -    bove  the     flowers        gay' 


hi\)}\  i^ 


fe^p^ 


^^^^ 


^"  t.     ^ 


^ 


-6- 


^ 


32x: 


r  '  r  ' 


^^ 


r 


v^'n  r  V  r  ir 


^ 


I 


^=?^ 


F¥=^ 


Milking  Time 


133 


Margaret  Aliona  Dole 
Pimn  the  Norwegian  . 

Andante  con  moto  J-=72 


(BookThree.p.lS) 


Norwegfian  Folk  Song: 
Piano  accompaniment  by  Edvard  Grieg 


1.  The  cows  are  way  down  in   the      pas-   ture;The  bells  are  tinkling" 

2.  Oh,  here  coine  the  bright  ro-sy     milkmaids!  They  place  their  stools  and 


m 


i 


^     »     y 


^# 


f- 


^ 


'F=T^ 


^^ 


s 


^<ji^rr^ 


JL-M. 


^^ 


1^'  '<T 


'•  i^ 


^^^ 


^ 


F  I  P  P  P  P 


F=tt=F^ 


r  ^T  p 


f 


s-weet  and  low,  As        o-verthe  meadow  they      wan  -  der.While  graz Lng-  on    the    clo  -  ver.Then 
hoM  the  pciils.'WhLle     mer  -  ri  -  ly  there  in  thie    glocim-ing- The  warm  white  milk  is    foam -ing;.  Then 


dt 


£ 


3 


^^ 


^ 


3 


^ 


m 


m 


7#  • 


n 


T 


^ 


A-A 


^ 


^^ 


^ 


ff  I  ff   h  h  h 


r'  "^  Pir'  ^  Mp p pp P 


E 


P  I  P  P  P   P  P  P 


^^^ 


moo  -  ing-  and  chew- ijig-.  The  shadows  they  follow  l^  hillanddownhollow^  And  patiently  yonder  They 
Pol  -    ly    and  Mol  -  ly  Wth  Annie  and  Mary  Re-turn  to  the  dairy,  All    happy  and  jolly.   To 


z^ 


^¥^ 


rn.rn 


i 


^ 


LUiU 


P 


f 


^ 


r — r 


^ 


#-A 


^ 


Z3: 


r^ 


^ 


m 


^^ 


-p^ 


^f.'j   J^J'n'J^J  J'Ti 


"» ^ *■ 

wait     together  For  milking'  time, 
make  fresh  butter  From  yellow  creajn! 


^,jprpj. 


134 

Laurence  Alma-Tadema 


The  Owl 

(Book  Three. p.  16) 


Granville  Bantock 

Ctimposed  tor  ih:s  Series 


^ 


mp 


m 


m    Pir  F 


I.Wheu    alJ  the  chal -  dn-n 

2. Her    wings  are  qui  -    et, 

3.  But     when  the  dawn   he- 
mp 


^ 


^5 


^ 


m 


i 


J, 


^ 


m 


w. 


r 


r 


S 


^ 


r 

piu 


din 


^ 


P 


i 


/>7M    p 


P  "•  N  ^     P  I  [J 


^ 


^ 


=fc 


lie 

eyes 

gins 


a.  -  sleep    And    vil    -    lage  lamps    aie     out ,  _ 

are  keen ,   She     needs  ^  no    star  .   ry      light; 

to    break,  And    glim-raring"  hour       is       cnill. 


P 


The  owl   from  out  thn 

To  her    each  tim    -  id 

She  wings  her  way  a  - 
piu  p 


^^^ 


u 


u 


a 


m 


^ 


^p 


/ 


3 


piu  p 


# 


* 


J  IJ  IJJ 


^ 


#« 


P 


r     mJ  J'lr  pir    P 


v)/'       More  lively 


vm 


m 


<M- 


bam 

thing 


will  creep    To    roam     the  world         a  -    bout, 
is    seen   That    nib  -   bles     in  the     night, 

the  lake      Or   hoots     up  -  on  the     hill.  _ 


Tu  -  whit, 
Tu  -  whit, 
Tu  -  whit. 


Tu- 
Tu- 
Tu 


juL 


N  V  ^ 


P 


Tu  -  whoo! 


!l 


u 


:t 


^ 


^ 


m 


# 


*J 


mf 


m 


M 


n 


mp 


w 


w 


^ 


V 


135 


c^csc  . 


^ 


T±}   \  d   — m 


viiit, 
■whit, 
■whit, 


i| 


To   roam     the    world  a  -  bout;  _ 

That    nib  -  bles      in  the  night; 

Or  hoots      up   -    on  the  hill; 

cresc.  ■ 


Tu  -  •whit, 
T\i  -  -whit, 
Tu  -  ■whit. 


Tu- 
Tu- 
Tu- 


V  i)|r    t'fU"^ 


^ 


M 


^S 


m/; 


Tu  -  w-hoo! 


Tu  -  whoo! 


■whit.  To  roam  the    •world  a     -  bout. 

vihiX,  That  nib    -  bles     in  the  night. 

■whit.  Or  hoots  up  -    on  the  hill . 

'      p^ mp  *^ 


^ 


^ 


^ 


i 


;e 


^ 


^ 


Tu  -  whoo! 


Tetnpo  I 


^ 


sost. 


dim. 


pp 


r> 


^^ 


^ 


Tu-Avhit,Tu  -  whoo! 
P_ 


dim. 


PP       iT^ 


^g 


^ 


i 


Tli-'whit,Tu  -  whoo! 


M 


^ 


m 


.  .-?■  r^ 


H 


TT 


'Piu 


m 


sost. 


dill 

i 


pp 


^ 


136 


May  Morgan 

Allegro  Moderate   J  =  96 


The  Race 

(Book  Three,  p.  17) 


A.  Danhauser 


J^    '     I' 


3L 


i= 


P^ 


tei 


i 


1.  Liff        is     like    a         stream 

2.  Train  -  iiig-  ev  -  'ry         day 


For 

In 


* 


« 


^m 


^ 


■m/" 


N 


^i  ^   i 


^^ 


^ 


P 


fe 


^ 


^ 


* 


* 


r^^ 


#1    * 


ev  -    er    on -ward      flow  -  «!§■;  Wheth  -   er      we  will     or      no,       Dowii  that  stream  we're 

bright  or  storm-y         weath  -  er.  All       cheer- y,        blithe,  cind    g^ay.  On    we     row   to    - 


^m 


^ 


^m 


i 


^* 


t^ 


^ ' 


^ 


r     u 


± 


± 


^m 


r   r  I  p-  F  p 


^ 


•   •       d 


go    -    Lng-.      Strong'  aiid  stea  -  dy        hearts        We're      need-  Lng-    for    the  row   -    ing;; 

g-eth  -   er.       Speed  -   ing- down  the        years  Like      birds     on   light- est         feath  -  er ; 


^ 


^ 


^^^ 


^^ 


^ 


=?^ 


I 


TTj/" 


^ 


m 


w 


I  J,  J.  J'  ii  I J^-  ^r^^Hrf  r  I  r  ssg 


i 


We  must  win,     so        now    be-gin  The  stroke  to        learn. 
Pans- ing- none,  the        race     ia  won, And    rest   we       earn. 


Alice  E .  Sollitt 
From  the  French 


Cinderella 

(BookThjee,p.2l) 


137 

French  Folk  Song- 


u 


^ 


i 


1 


&3a 


=z: 


f 


1.  Sad    am  I,  sad   and        shy,  Fkr     a 

2.  Yet     it  seems        in     my     dreams      Fair  -  y 


way  from  friend -ly       eye;     Night  and 
light    a  -  round  me      gleams;  And    I 


f  f     I  .r  p  ^  }^^ 


^ 


^m 


ipH ^. 

— ^ — ^ \ — . — 1 

a| 

* .^ 

5 
■ 

day,            here    I               stay             In      ray 
hear           in       my           ear :          "Cin  -  der     . 

=13     3    ft^= 

cor  .  ner    hid      a 
el  -   la,   have    no 

^ 

=4= 

way. 
fear. 

' 

^  r   1 

Here    sit 
Kitch  -  en 

— M 1 ^ 1 

• 

r  1   i  ' 

' r. 

I  n  J  J I  n  'J  J I  i  J  J  J I  J 


r=^ 


V 

'  i 

I         in      ragB  and 
joy     in     store     for 


T 


I         in      dust    and 
days  will  soon     be 


ash  -  es,    Here    sit 
o    -    ver;   I        have 


J    J    ^    ^    I   •!        ^   J    ,    ^   ^    J    J 


tears !   Hence    they 
thee .       Feiir  -    y 


i 


I  f     r 


i 


^ 


f 


=2 


claim, 
friend 


« 

to       my 

grief  will 


^^ 


shame,         Cin  -  der 
end,  And    a 


el   -   la       is       my 
prince    to     you     will 


S#^ 


^^ 


-fU^ 


name;   Hence    they 
send;      Fair  -  y 


claim, 
friend 


to        my 
gnef    will 


shame, 
end. 


Cm  -  der 
And      a 


el    -    la        is 
prince    to       you 


my 
will 


^^ 


^M^ 


^ 


name, 
send ." 


I 


;>i.  Vol.  111—10 


138 


Traditional 

Allegrretto  J  =106 


The  Maypole 

(BookThree.p.22) 


English  Folk  Song^ 


iUih^'i 


\D  j-  ^ 


^m 


m 


m 


F 


r  r '  T  r 


^^^ 


T 


r^ 


^ 


^ 


^^ 


^^ 


's  t-    ^   r  I  r  r'  ?  r    'r  r  r  r  '^f^»^^ 


1. Come, ye  young' men,  haste  a  -  long- 
2.'Tis  Uie  choice  time  of  the  year, 
3.'When  you  thus  have  spent    your     time, 


With  your  mu  -  sic,  dance,  and  song; 
For  the  vie  -  lets  now  ap  -  pear ; 
And    the     day    is  past       its       prime. 


^ 


i    N   j    J  i 


W^ 


'!'/'"^^"^^;'h^^|^^^^'^'.^ 


Bring'  your  las  -  sies  in  your  hands. 
Now  the  rose  re  -  ceives  its  birth; 
To      your  beds  re    -     pair       at      night. 


For    'tis    that  which    spring    com  -  mands . 
Pret-ty     prim-rose     decks       the    earth. 
There  to    dream  of        day's         de  -  Light . 


^ 


w 


i  '^    4^4 


J  M-j   \\}^PK^^\P^{  ^ 


''f'r  r  T  r  r  r'Vrt 


r  ur  T  f 


Then    to    the  May.  pole    haste    a    -    way, For    'tis    now  a hoi    -    i    .    day; 


^£ 


J      J    I   J      J 


J      IJ     J     J    i 


^ 


« •■ 


i*  I  I'  I' J  J I J  i.n  i-\^^^i  ni  I  jji 


r 


I 


Then    to    the  May -pole  haste     a    -    way, For   'tis 


now  a. 


hoi    -    i    -     day. 


^ 


^m 


i  ij  J  J  i 


^^ 


Nathan  Haskell  Dole 
From  the  Russian 

J  =72 


The  Frost 

(Book  Three,p.23) 


139 


Russian  Folk  Song- 


1.  Comes     the  Frost - 
2. Comes     the  Frost. 


from       the  North, 
from       the  North, 


Steal  -  ing-  forth  by 
Steal  -  ing:  forth  by 


nigrht; 
night; 


rar 


ftS— ^'-J.'JI^    .''J.^'lJ'-  J'iij«3' 


% 


^ 


7 

He  hcus 
Andwher 


To  the   house . 

To  the   house. 


en  -  trance  g-ains 
en  -  trance  gains 


Thro'  the  win-  dow  -    panes. 
Thro'  the  win  -  dow  -    panes. 


^ 


p  r^  in  n 


k 


#s 


w 


th  ni  n  I  j  '^\\^\\\\ 


keen  spar  -  kliiig'       eyes,      And    on 

ev       -  er       he  g'oes.       By     his 


^^^de  si  -  lent     wings     O'er  the 

weird  mag^-ic         pow'rs, White  as 


yW 


1^  V»  ^.r^  I:  ^ 


^^ 


i^ 


f^ 


earth  fast     he 

snow    -    flakes  he 


flies.         And    the        win    -    ter      he 
strows      Sil  -  ver        ferns,      sil  -  ver 


m 


^ 


uu  '  I 


j~^ 


fr^ 


bring:sl 
flow'rs. 


"SfF" 


m 


140 

M.  Louise  Baum 

Adagio  J  =  60 


In  Autumn 

(Book  Three.p.23) 


Attributed  to  Stradella 


Sun  -  set    is  pa  -  ling- ;  Winds     g;o      a   —   wail  -  ing ; 


Sum-mer  is 


^m 


i 


pp^ 


m 


fled.      Nigtit  cowers         cold  On         wood and  on      wold.  While     o    -   ver  - 


^ 


^ 


W==^ 


m 


,  ^- d 


-^  ^    * 


mm 


I 


f 


1=^ 


=?==^; 


^^ 


i 


m^ 


head  The       stars are        red. 


^^ 


^ 


m 


mm 


n'     i 


m  '  m 


^^ 


uM 


TTT 


T- 


May  Morgan 

Andante  molto  J  =  66 


Summer's  Done 

CBookThree,p.24-) 


Norwegian  Folk  Song- 
Piano  accompaniment  by  lEd/vard  Grieg 


p':i  '>!  "  "iTviiji.  jii'j'ir  ji.'pip-g  ;■  J'l^^ 


1^  1. The  chestnut  tree    is       flaming   All      golden  like  the      sun,         Its 


■itd 


Ml 


fall  -  ing- burrs  pro- claim-  ing- That     nut- tiiig' lime's  be     -    gun.        By    signs  like  these  we 


i 


H^  nm 


-J-H>i^ 


^^ 


E^ 


^ 


•n  ■'  7 


^ 


^r^ 


f-rt 


ff 


=?r^ 


^ 


^ 


i- 


^ 


?ee3h 


J  I  J'.     Ji  J'    J  I   p       J',    p 


B 


SEEE3 


i 


know   summer's      done. 


I .    In    boughs  where  birds  were     sing    -    ing  Now 


P 


^^ 


S 


^ 


^ 


*  » 


fT 


a 


^m 


mL 


^     % 


V  V        V  V 


f 

V 


t^ 


^ 


"Jii. 


p 


S^s 


^ 


^ 


^p 


1^? 


on   -   ly  squirrels      run,      And    emp   -  ty  nests  are  swing-  ing,       Are  swing- ing  in    the 


^ 


^ 


->— g — ^ 


9 


a 


pf 


r^^ 


?^*r^ 


I  V 


n 


V     V      V 


^g 


f 


«e;i 


1^     * 


^^'1>  J  ^plj).  Ji^ 


3,.- 


>.  ■- 


i 


sun.       By  signs  like  these  we    know      sum  -   mer's   done 


^ 


^^ 


f 

V 


^ 


^ 


^3 


?^ 


1  ■  -1 


=1^ 


^ 


^ 


^■q* 


142 

Alice  C.  D.  Riley 


My  Bonny  Pipes 

(Book  Three, p.  24) 


^# 


Scotch  Folk  Song- 


P^^?^ 


1.  Giii  the  cold  winds  blow;  Gin  the  sleci  andsnow.'IheniDyHighlandplaidie'Ukeep  me  warm.    Gin  the 
2. There's  a     lass  o' raine.Brown  her  hair    so  fine,  And  the  blue    o'   heaven's  in    her       e'e.    Whenthe 


P 


m 


J^ 


ii^J  I  r  i  J  ',fJ'  I J  ^ 


p^ 


fc^  broods  white  O'er  the     face    o'  night,Then my  Highland  heart  wiU  fear  no    harm.     For  a 
wind   howls  dour  O'er  the     bar- ren  moor,  Thenmy  Highland    lass  will  think  o'       me.      Oh,  my 


^^ 


^ 


rr  I  i| 


^ 


^ 


s 


^ 


»       a 


JlJi^ 


J    J  ^^i^i  J    j   ^    i)i^|  J 

3  3  ;  1  ?   3  3  ^    1= 


^ 


^ 


^ 


rs 


High- land    lad      In   his  Highland  plaid, With  his     bag-- pipe dear.Kiows  no    tho't  To'   fear. Then 
heart  will  pine    For  this     lass    o' mioe,  .Till   my      love     I   hold       In    my    plaidie's  fold!  Then 


^ 


>  f  f  I  ijf  f  >  ij  rr 


m      m 


^ 


3 


^ 


i 


^ 


5^ 


^^ 


^t^ 


m 


[and  heait  will  fearTio      haj 


r 


blow,  then  blow,  my       bon  -  ny  pipes, then  blow!  My     High  -  land  heait  will  fearTio      harm  . 
blow;  then  blow,  my       bon  -  ny  pipes,  then  blowl'My     High  -  land    lass  will  think  o'        me. 


The  Maid  and  the  Brook 

Frederick  H. Martens  ^Book  Three.p.  25) 

*       Andantino    J— 132 


Russian  Folk  Song- 


'^  J       J 


^^^^ 


w 


1 .  Where        the 

2.  Sil      -       ver 


brook  thro' green         wold  flows,  Its 

brook,         ah, when  you  roam,  A 


143 


^^ 


m 


p 


rip   -    pies         rill    -    ing- whUe 

migh  -  ty riv   -     er past 


p  I  r 

it      goes, 
my    home, 


^^ 


There     each_      day       ray 

Tell        ail those    whom 


^^^^^^^ 


^ 


m 


^m 


i 


^ 


^m 


J =£ 


0  L  F    -^ 


^3^ 


© 


^ 


* 


^ 


foot  -  steps       stray;          I      think 
I hold        dear         That     in 


of         loved  ones  now    far 
my    thoughts  they  are     ev 


a 
er. 


way. 
near. 


i 


r~r 


^ 


^m 


^ 


•^^ * 

cresc. 


^ 


f 

\ 
-e- 


i 


J 


^ 


Virginia  BaJter 

J  =  126 


Happy  Autumn  Days 

(Book  Three.p.  27) 


'^'t  J   ,|i'^ 


EiEEJ 


French  Folk  Song" 


['^IJ-       J' 


:* 


7 


r 


J 


^^ 


l.Sing,    let    us    sing    of       hap  -  py  days!  Days  when  the       air        is     crisp     and    clear! 

2.  Sing,    let    us    sing    of      for-  est  dales  Where  ripened      chestnuts     pat  -    ter    do'wnl 

3.Suig     let    us    sing    of        si  -  lent       nights  When   all    the      stars    like    jew  -  els  gleam! 

^     J         .J       1  ii 


X 


^ 


/If-     I 


^ 


i 


w 


w^ 


f 


t 


p 


S 


I 


? 


* 


*      m 


^=r-Tj 


r-^ — -r       •  ■■      I    '  I  I  r  r  ' 

When, from  the  wood-land,     call     the  jays,     Tt-ll  -  ing- that  au-tumn  now      is       here. 

Sing     of  the    trees    in      glens    and  vales,    Splen  -  did     m  crim-son,  gold,    and  brown. 

Joined  hand  in   hand    the    white  frost  sprites  Dance  neeith  the  pale  moon's  sil    -    ver  beam. 


^; 


fe 


i: 


f4i-+^r^  I  \  F^M 


4 


r 


U4. 

Maurice  Thompson 

J.  88 


At  the  Window 

(Book  Three. p.  26) 


i 


""P  K 


^ 


^ 


Frank  van  der  Stucken 


m 


^^ 


^3E 


I         heetrd  the    wood    -    per  -  ker      tap     -     ping'. 


Con  moto 


fr-q^ 


* 


^ 


^ 


^ 


f 


f 


i^^ 


i 


mp 


^ 


f   '       P      I  f       f      I  ^       H' 


S 


|i'  q  ^  J' 


The  blue    -     bird  ten    -      der  -  ly        sing; ;  I 


^ 


^^ 


^ 


i^ 


^• — ^ 


^ 


turned  aiid  look'd  out    of    my      win    -     dow. 


^^ 


it     was      spring- 
Tit  a  tempo 


Ajid  lol 


1^:^  -rW' 


^^ 


145 


,,^J-JhJ      J^^ 


n  'r    r 


breath from     trop    -     i   .  cal      bor    -     ders. 


Just  a         rip    -     pie, 


i 


^ 


W 


m 


f^f^ 


p 


3 


S 


m 


ii 


# 


H 


'Ii;)       #'£60       ♦ 


g^  n-;  j'u 


t 


^^^^t 


^g 


And  w-ashed  my        face  clean  of     its 


) 


flowid  in  -  to       my      room. 


P 


^ 


^ 


.>'L      j^         ^^ 


i; 


^ 


■^Ee;).        *'2t5.         *     "Eti 


'jSti.  •  #     ^EW. 


^ 


_^ 


^P 


Jl 


s 


f 


r 


sad    -     ness. 


Blew 


my  heart  in  -  to        bloom, 


^^ 


^ 


m 


f^-^1 


;^v"Jj- 


^ 


^ 


*-  ^* 


^3^^ 


^ 


^ 


fl^ 


^/ 


S 


# i^t^ 


3^ 


m 


4ed. 


•5S.;>.  -      * 


•St;*. 


iQf  ^'U 


* 


i 


^=^ 


rit. 


Blew  my      heart 


^^      P     -/^^ 


S' 


^ 


«.A. 


& 


m/' 


1^ 


in       -      to     bloom.  . 
pih  rit.         a  tempo 


h 


m 


M 


p 


^ 


m 


pp 


146 


M.  Louise  Baum 
^  ,     Allegretto  J^=  152 


The  Remembrance  Bouquet 

(Book  Three, p.  28) 


Neapolitan  Folk  Song: 


f?Wtff-&- 


g 


^ 


:^ 


^ 


JJ  p 

1.  I        must      choose    me      the 

2.  Then  with  fil  -    i     -    gree 


yel  -  low  -  est  to  -    ses, 

pa  -   per      I      wreathe    it. 


For     the 
In       a 


^ 


tt 


M  J'  J  Jl  J'-^ 


ff      • 


^ 


BE 


P     P   11'     P 


^ 


^ 


sweetest,    com  -   pie -test     of       po  -  sies;  I      will 

hold- er     of        sil  -  ver     I     sheathe  it.  'Tis  what 


min-gle    the     fern  and    the 
g:al-lants    of      yore  gave  a 


;i  p\  J)  J'  J'l  ^ 


B 


m      If 


'  F   F    ' ' '    P^ 


-ette, 


li  -  ly. 
la  -   dy, 


Mi-gnon-eite,    so  -  ber    pan-sies    and 
There    it    swung-  at     her  waist   on     a 


g"ay; 

chain. 


) 


^^ 


^ 


m 


Pur-ple 
Oh.  but 


^ 


'Q!'  '^ 


f" 


=r=¥^ 


">'i'\'  L_r^ 


f: 


r 


1^ 


''tjLJr 


f= 


?5 


?= 


i 


A± 


^^^ 


j)  JM  J^  i'  ^''  I  ^M^H 


5=5=z=r 


^ 


;.)     li     • 


vi  -    o    -  let, 
who'll  grace  my 


snow  -  y     cair  -   na  -  tion, 
po  -  sy    and    wear    it? 


AU    the       lov  -  li  -   est  flow'rs  in    ere  - 
None    is       left   now  with  whom    1     may 


14: 


^m 


rail 


'     \<    ;  I  J'    Ji    fe^ 


a      m 


-')     ^       V 


a    -    tion 
share    it 


i 


i^ 


Go     to        make    a        re  -    mem-brance  bou   -   quet . 

Aiid    my     flow'rs  have  but     blossom d      in  vain. 

k col  canto __^        a  tempo 


^ 


f 


» 


m 


1 


^ 


J' 


J' 


i 


:^ 


^ 


!= 


'-^J  'F 


Virginia  Baker 
•  =  132 


The  Gypsy  Dance 

(Book  Three,  p.  28) 


Gypsy  Melody 


^^ 


i 


^fe^^^ 


J^     f)  ^  N 


^ 


1.  The     twinkling-  stars    are      bright,  The 

2.  Like  nymphs  and  fauns  at  pl'"»y.  In 


sil-  ver  moon     is         beam  -  ing;     The 
mys-tic  meas-ures       twi  -   ning:,  They 


i 


^^ 


2= 


camp -fire's    fit    -     ful 
cir  -  cle,    bend,     and 


light 
sway. 


Glows 

Widle 


red        in     the  gloom  of 
loud  swells  the  mus  -  ic 


^^ 


^ 


night . 

g^y- 


Wth 
Tho- 


^j''„Jt  i'  J'    ,^ 


I  ^  I  d\i 


m 


foot- steps  trip  -  ping 
in     the    arms       of 


free, 
sleep 


And         dark  eyes  wild  -  ly 
All  oth  -  ers      are       re 


gleam  -  ing,      The 
cli  -    ning,       Till 


Gyp-sies    mer   -    ri       -       ly 
dawn    be  -  gins       to  peep 


Now      dance   'neath   the  green-wood       tree. 
The       Gyp  -   sies    their    rev  -  els  keep. 


14-8 

Eunice  Ward 

•^=   U2 


So  Ignorant 

(Book  Three, p.  30) 


Horalio  Parker 

Compo\ei  lir  (his  Sfrlo 


1.  The        ve  -  ry     dull  -  est       chil-dren    in       Jap  -    an  speak  Jap  -  a    -    nese;  In 

2.  In  Par- is       lit  -  tie        chil-dren    do     their      les-sons    all      in       French;        In 


F"^ 


i 


^ 


Spain  they  chat- ter       Span-ish     as    they       play.  

Ath- ens      e  -   ven        ba  -  by     talk  is  Greek.. 


In      Hol-land    it      is 
It    makes  me    feel  quite 


»Uu^ 


^1^  f>  P  pi-jajr'^'^  P  p|ju^^ 


^^ 


much     The    cus-tom    to  speak  Dutch,    While  Swedish  young-sters  talk  the  Swedish     w;^. 
blue,      And  rath-er  stu  -  pid        too.    For  I'd   like   to   understand   them   when   they  speak. 


Louise  Stickney 
From  the  Swedish 

Ar.dante  J^=100 


Prince  Baby 

(Book  Three ,p.  30) 


G.  C.  Boivie 


14.9 


i 


^h:¥=^ 


^ 


*  * 


^ 


^^ 


U  P'r' 


3z: 


Prince -ling  mine.thd thou  lack       a       throne,  Hap- ly    more     sweet       thy      slum       -       berl 


^m 


w 


TM 


i^ 


*(-   Ti(-«^i^  5i-- 


i|* 


>:   *     t*        * 


a 


^ 


i 


* 


^ 


i 


s 


s 


sempre  cresc. 


t\  J       J' III.      ^ 


r    p  r~p'ii'   ^'  r'FFir~Jp 


f 


King"     thou    art  of  this  wood       a  -    lone, Vaa  -  sals  hast  without  nura       -       bar. 


i 


cresc. 


IJ'J'V     IP     'y-       ^^ 


& 


AVa  -  ters  will  woo  thee, 
a  tempo 


Breezes       will  sue    thee. 


Larks  will  carol  thy  praise       And     peace  bless  thy   days. 

dim 


'^i    .  r> 


150 

Hoffman  von  F.'illersleben 


Dancing  Song  in  May 

(Book  Three, p    3l) 


|^1i   J    I    J'.      Ji    i 


m 


Robert  Frariz 


■if—^. ■ ■ ' ■ — ■ 1 ^ 

Come       out        to       the  gfreen,        For       .  spring:        it         has  come:         Ttw 


r=r 


^S 


p   f 


f^=t 


t 


V'  p-     J'   J'   I    J'    ^      J)  1^ 


^ 


glad       May     is 


i 


^"'jT  j.  j. 


roam  -  Lng'.        The  haw-  thorn   is  bloom  -    ir.g:;      Come 


^m 


^^ 


rr 


1^ 


J.    J  J 


-^ — *-^ 


* r- 


cresc 


151 


^ 


h  *     ^  •        *'     * 


daiic     -     iiig^     with  joy,  Li 


J'.      Ji     J' 


life's  bap   -  py 


^^ 


No 


^^ 


ss^^ 


r= 


"i^'»    r-     J 


i 


f 


tr 


clouds       dim     the  heav    -    en.         The  earth       is        new     -    born,         is        new 


) 


^ 


m 


f 


^ 


-#■ — # 


i»^ 


-)-'»  r~3j 


^ 


i 


cresc. 


./• 


P       P     P 


born 


in         the  May ; . 


m 


«>  ir- 


f^ 


^ 


cresc . 


S 


V  IT- 


1. 


"4 W        ±: 


152 


Well  Met.  Well  Met 

Traditional  ^^°^^  Three, p.  32) 

Allegretto  gTa2ioso  J^=  160  p 


Eng-lish  Folk  Song- 


i 


-^  i    \[-  ;> 


ES 


^ 


E 


^ 


^ 


^^m 


1.  Well        met         weli     met,        my 

2.  I  mjgfnt     have    had        a 

3.  A  way  of     gold       hes 


M 


m 


^ 


33= 


'Tf 


r- 


^'li  ■:     I     t         J'    J 


^^ 


^^^ 


^ 


i 


cresc 


m 


^^ 


^ 


?s^ 


^^  ^'  r  p  p 


^ 


own  . 
prin 
O'er  _ 

I 


true     love!       Long;        time am  I  seek 

cess    fair,        She  fain would      have  wed  ■ 

the      sea,      Where       sets      the  great        red  sun 


ing'  of    thee.     I      am 
ded  with  me ;     But   I 
in   the  west,   And  a  - 


m 


^^ 


cresc. 


i 


p^ 


dim 


late 
did 
Long 


-  ly  come  from  the  salt,  salt  wave,  And 
•  not  hold  for  her  crown  of  gold,  And 
that  way  thou  shalt     sail  with   me.      To     the 


aU 

all 
land 


for  the  sake, 
for  the  sake, 
of     ail    lands, 


sweet 
sweet 
sweet 


153 


Mandolin  Song 

(Book  Three,p.32) 


Abbie  FarwelJ  Brown 

J^=  168 


Spanish  Folk  Song- 


Pink  -  pink  -  a   -  pink  -  a      -      pink  -  pink  -  pink ,     gay     notes        are         wing-      -       ing"; 


^ 


P     p    I    ^'     ''     }    I    j  ) 


;ip    p  «p  p 


E 


Pink  -  pink  -  a  -  pink-  a     -      pink-  pink-  pink,      sweet    mes  -  sag-e  bring-      -       ing; 


^ 


P'  p  p-  P I  p    M'  I  ^'  ^'   J 


^ 


Hark     how    the   mer  -  ry         man   -  do   -     lin  sof    -    tly  is  sing      -       ing, 


§  p   p  •  ^'^-m 


:   J  i' 


^fe^ 


Pink  -   pink  -   a  -   pink  -  a       ■         pink  -  pink  -  pink ,        sil    -    ver  -    y  sweet  f 


T.  M,  v.. I.  nr— 11 


1_5+ 


The  Passing  of  Suninier 

Alice  C.D.Riley  ^^'^"'^  '^^'^'^P-  ^'^^ 

AUeyrelto  patetico  «*  =i5<i 


Neapolitan.   Folk  Song- 


^ 


5^ 


r  r  I  r 


i 


1     Blow! 
2.    Fly' 


Blow  I 
Fly! 


Free  wind      a 
Wild  g'eese    a 


i* 


S 


PP 


1 


P 


^^ 


^^ 


blow 
fly 


ing-l 


S 


^ 


i 


1* 


j#J^  J'  ^iJ^J   'I  J)   J'^j,   I  J. 


=^^=^ 


Summer      is  o    -    ver,  au  -  tumn   is  come. 

Why     do     you      leave    us?        Where    do      you  g'o? 


Blow! 
Fly' 


Blow' 
Fly' 


^ 


J'    J    J' 


P    '    M    P    P    ■'  I  p    f!    F  I  g 


Soon  'twill     be       snow  -  ing:. 
Southward  you're      hie  -  ing:. 


Hark    to       the        plo  -  ver 
What    are     you       chan  -  ting-, 


soun  -  ding'      his 
plain  -  tive      and 


fe 


^ 


i 


i  -7  j  ?  i ' 


=^ 


^ 


9 


^ 


M.r    m      "^^ 


^E^ 


^m 


=^=^ 


^^ 


drum! 
low? 


"Win  -  ter     is 
Ripe  nuts    are 


com 
fall 


List     to       his 
Bob  White  is 


drum  -  ming', 
call    •    ing: . 


155 


i 


t*= 


± 


,       allarg.  con  espress. 


&. 


^ 


^ 


^ 


clo 


S 


List     to      him     call     to      his        mate     close       by! 
Mocks  Mister   Squirr'l   in     the        tree      close       by! 


Leaves    all     a 
Northwind's    a 


quiv  -  er, 
blow  -  mz, 


fe 


M 


^ 


^ 


-Un 


*^ 


ess. 


al/arg  .cones  '>re. 


^^ 


/       / 


i 


^ 


S 


^ 


p  lento 


E 


m 


^S 


i 


^ 


d      *     m 


¥^' 


Reeds  all     a     -     shiv  -  er,  Blossoms  must       with  -    er,       Summer  must       die! 

Soon  'twill    be        snow  -  ing,         Summer     is  go     -     ing",      Summer  must        die! 


I 


& 


^^ 


1 


f 


f 


^R 


T=^ 


T 


r 


p  col  canto 


• 


^ 


w 


f 


=^=^ 


M     7      /: 


& 


Marg'aret  Aliona  Dole 

J  =  96 


^ 


Faithful  Friends 

(Book  Three.p.  38) 


Joseph  Gersbach 


LFaith-ful        friends      are    life's     best 
2. Life     IS  full  of    stem    de 


tiieas-ure;Wealth  and 
ni    -    als;    Oft     we 


fame      may     pass  a 
miss      the     joys    we 


^m 


^  •>  h  r  ii^'i^i)  jijrt^ 


■w'ay,      Bring'    no  joy         or     las   -   ting         pleasure;  Faith -ful    friends  a  -  bide    al 

crave.      Fcuth  -  ful       friends     are    near     in  tri   -   als;Their  sup  -  port  will  make   us 


P^ 


f 


i 


^^ 


:^ 


w 


f=r 


:# 


r^ 


s^ 


way.       Thro'  the  world    1     glad  -  ly 
brave .      Thro'  the  world     I      glad  -  ly 


go 
go_ 


If 
If 


one 
one 


faith- ful  heart 
faith- ful   heart 


know, 
know. 


¥ 


rjf  p 


^ 


156 

Ethel  B.Howard 
Moderate  J  •  =  80 


Halloween 

(Book  Three, p.34) 


Catharina  van  Rennes 


^ 


S 


'  ''1,1  ii[  h&frjrTT 

1.  Tne  sparks  fly  high  in   the    chimney  deepUhere  the  birch    log- 


shadou'!,  dim    Of    the    gray    twi 


i^i  >  jij-j^^h^t  g>lT^'  ii-  V  < 


elows;        Tne      popcorusoaipsaud  the      chestnuts  leap  While  gay    laugh-  ter  flows;  And 

light,  Go      JacK.- rf-lanienis  and    witchmaids  slini    Li     a         mad    -    cap  flight.  Tne 


^^ 


^^ 


^ 


^ 


^ 


^ 


SsS 


M 


r  rf    P 


^ 


^ 


p  ^  C'  t^Xr, 


^^ 


^  -  ,  y. 


|i  t'l  MY  H  I  ^'i|  -U 


^ 


ap  -  pies  red    are      luscious    to      eat  When      falJ  the      snows . 

full  moon  tops   the    wood  -  ed  hill  rim      And       laughs —  out  -  right. 


Lee  Burns 


Jingle,  Jingle,  Jing-lety,  Jing 

(.Book  Three, p.  35)  H 


Allegro  non  troppo  J  •  =  92 


J. 


^ 


^ 


157 
arvey  B.  Gaul 

Composid  (or  (bis  S«ri>\ 
5 


P 


Jin  -gle,  Jm  -  gle,      Jin-gle  -  ty,  Jing-I 


-r — r 


^.iir  Jt   J' 


I     can't    re-mem-ber    the      words       to      singr; 


w 


^ 


3 


^^ 


ii 


^ 


g 


Ea 


^ 


^ 


^ 


h  J'    h    N 


S 


J'  I  J.  Jl  i'  i 


r?r 


^^ 


^ 


^ 


^ 


■* — • — ' — ' — *- 

But  there  comes  in  -  to  my    head  some-tunes   A      sau  -  cy  young- tune    that       rip-pies  and  rhymes; 


i 


r 


■0 — # 


s 


» 


^g 


^^ 


^ 


^ 


^ 


« 


r^TpM 


nr 


^^ 


f ;t 


? 


a  tempo 


^ 


^ 


P 


E 


^ 


^ # 


Climbs    up  hig"h    and     drops  down  low,         Just       as      a      mer  -  ry  young:     tune  will    g-o;  Then 


J     i  J     ^ 


J. 


^ 


-^R- 


i 


■       ■ 


Jfcii 


^^ 


^~r^ 


^ 


^ 


i 


r\    9 


accel. 


^ 


J   i>i^  Ji 


J    7     1^     ^  ^^ 


^ 


ai±=^ 


^ 


F 


runs     a -way  laughing    and     foil      of    fun.Witn    a       heigh- oh  -  heigh! 


:r^  1 1 


^p 


s 


s 


^^ 


With  a 


«.S 


f 


( 


i:l 


^m 


^m 


^^ 


^ 


I  t  w    ji  J 


fe 


^ 


P 


^ 


* — ^ 


heigh  -  oh  -  heig-h !    __ 


i^ 


E^; 


^ 


y»        » 


fi 


Wth    a  heigh  -    oh-heigh!and  the      tune    is  donel 


Jk 


^ 


^ 


zcn 


158 

Ida  Whipple  Benham 
Not  fast   J  ■  =  6i 


The  Listening  Woods 


(Book  Three, p  36) 


Rudolph  Geinz 

Composed  for  thu  Seriet 


1  I  went       to    the  leaf     ■     y  for       - 

2  I  looked   at    the  shad  •  owed  mos 

3  Aiid  long      did  I  wait         in  si 

4-  At  last,     like  a  gen    ■     tie  breath 


est ;       Not  a  leaf,  not  a      flow  -  er  was 

ses,       And  I  looked  at   the   nests    o  -  ver  ■ 

lence,     But  I  looked  and  I        lis  -  tened  in 

iDg,     From  the  Southland  a  breeze  sof  -  tly 


te 


j    H    g 


m 


3 


^m 


i 


4, 


i 


^ 


^ 


r  P  M^^'  ^  p  f^ 


^^ 


«-      m 


s 


stirred . 
head;  _ 
Vcun ;  . 
blew.    . 


i 


Still 
I 
It 
And 


in  its    nook  was    the 

watched       the  brook    as     it 
seemed        the    for  -   est   so 

said,  "The    lit    -    tie  wood 


dream  ing-  brook.     And 

swee  -     tly  dreamed    A    - 
hushed  and   still    Would 

peo  pie    all  Are 


r-r    t 


f 


n  ^ « 


1? 


m 


m 


i 


^ 


i 


^ 


^m 


?= 


^ 


r"    r'p 


^ 


still  the  nes     -  ting  bird, 

lone  in  saji             dy  bed, . 

nev  •       er  wctke          a     ■  gain, 

list  'nuig,  child,         like  you, 


) 


And  still  the  nes  -  ting  bird 

A    -  lone  in  san    -  dy  bed 

Would  nev     .     er  wake  a     -  gain 

Are  list    -    'ning,  child,  like  you" 


Come,  Lassies  and  Lads 

From  The  Westminster  IhvUery,  1672  ^^""'^  Ttr^^-P-  37) 

Allegretto  J-  =  84 


159 

English  Folk  Song^ 


m 


^ 


^Ij).  Jj)P  p  pIC^  p  p  ^  p^ 


s 


1.  Come,  lassies  and   lads,       g^et  leaveofyDurdads,ArKla  -  way  to  the  Maypole        hie;  For 

2:' You're  out,"     says  Dick;  "Not     I,"      says  NictllVas  the    fid-   dler  play'd  it        wrong:!' "Tis 

S'.'Good   night,"saysHarry;"Good  night,"says  Mary;"Good    night"says  Poll    to        John "Good 


S 


i  M   giF  If  Pf  1}  Mf  ff 


i 


^^ 


^ 


3B 


r 


Tr 


ev  -  ry  faiir  has  a  sweet-heart  there,Andthe  fid  -  dler's  standing- 
true,"  says  Hugh,  and  so  says  Sue,  And  so  says  ev  -  'ry 
night" says  Sue   to    her  sweet- heart    Hugh;"Good     night"  says    ev  -  'ry 


m 


-■■         ) 


i!/.i'^ ;  Nj.^j' I  Mj  1 1  J- J I 


Wil  -  lie  shall  aance  with       Jane, . 

fid   -    dler  then     be     -     g^an 
■walked  and  some     did  run. 


And     Johnny    has     got     his        JoaS7 
To         play     the    tune    a     -      gain. 
Some      loi   -    tered  on      the         way, 


To 

And 
And 


S 


38 


^M 


m 


w 


W 


trip    it,    trip     it, 

ev   -  'ry    girl    did 

bound  themselves  by 


trip  it,  trip  it, 
trip  it,  trip  it, 
promi  -  ses  twelve  To 


Trip       it     up       and      dowhT" 
Trip        it     to        the       men; 
meet      next  hoi  -  i      -    day ; 


To 

And 
And 


=E^ 


^ 


^ 


^m 


* 


p 


3 


trip      it,     trip  it, 

ev    -    *ry    girl  did 

bound  themselves  by 

:t       .   lit  ■ 


¥ 


trip  it,     trip     it, 

trip  it,     trip     it, 

promi  -  ses  twelve  To 


^ 


Trip 
Trip 
meet 


^ 


it  up  and 
it  to  the 
next  hoi  -   i 


down, 
men.  . 
day. 


'''  Clang-!  Clang!  Clang! 

Abbie  Fain*-eU  Brou-n  ^^"""^  Tliree.p.SS) 

Frcym  the  French 

Allegro  deciso  J  =  ViO 


Allyre  Bureau 


f 


r  ^  P  f  ^  I  ^  J'  ^  ^  ^  I  r  ''  p  r  r  I  ^  '  ^  r 


l.Claiig^Claiig-!Clang:!The  an  -  vil     sound  -  mg";  Clang-IClang-l  Clang-IThe  forg-e  fire   glows  .Clang- !Clarjg^ 
2.Clang1Clang1  Clang!  Resounds  the    haxn-mer.    Clang:  I  Clang-I  Clang-IThe  flame  aa  -  cends.ClangtCkng-l 


)^ 


^^m 


i 


m 


m^^ 


m 


J  ^  J  J 


^^ 


± 


^ 


i 


^^ 


^ 


^ss 


^ 


Clang'  The  hamnier       pounding,  Clang' ClaiigfClanglWith  shaping       blows. 
Clang!      A    mig-h-ty        clanior!  Clang! Clang! Clai^ The  met-al  bends. 


J    '     j»j 


m 


^ 


s 


^ 


^ 


p 


pi 


P 


^ 


^m 


* 


o 


^E 


id: 


^ 


i 


i 


^ 


Fine 


^ 


^ 


^ 


i^ 


P 


m 


i  ^ 

^ 


ifc 


Fine 


m 


^ 


^ 


i»-H^ 


m 


fas  -  ler  and 


m      m 


Forge  the        met-al    fas -ler  and       fas-terl  Mak-ing     man  the  migfa-ty 

Beat    the  sword  to  hap -pi  -  er        us  -  es;  Haste  the    end    of  war's   a 

f  J  J  N  J  J  J    N  J  J  J  N  J  4  j 
(I '"■  F  P I F  P  F  F    b  ^  n  4  ^ 


:■ — c 


mas-ter;  Round  the 
bus-es;    Forge  the 


f  ^  ^r   r  M 


J_ 


s 


^,  j  j  i 


^"r  f  F  r 


^^^ 


f~Hf 


^m 


^W 


161 

i?.C. 


world     to     brace    it        the       strong-- er,    Pow'r    of  steel    aiid      i    -     ron        goes, 

plow,    the     ship,    aud     the        rail-  road,  Peace  -  ful       bonds  that  make       all         fnends. 


± 


Bjornstjerne  Bjornson 

J  =U6 


On  the  Ling, Ho! 

(BookThree,p.39) 


Halfdan  Kjerulf 


tJ  P   J-  -rr.  ^  P  —  ^  i 


:^^=^ 


W^ 


r 


T 


zf^ 


1.  Sly     reynard  lay     by   the      dusky  pme.  On   the       ling:,  ho!     on    the 

2.  Sly     reynard  leaped  from  the    dusky  pine,  On    the       lingr,   ho!     on   the 


Img',  ho'    And 
ling-,  ho!    And 


1^ 


i 


^s 


-6 


d 


i-i- 


5^ 


V 


>  J'  { J'  J' }' 


m 


m 


:S 


i 


F 


^ 


f 


^ 


bun  -  ny  sported    in    the    sujnmer    shine,      On   the       ling,    ho!     on    the 
snapped  up  bun-ny    in    the    summer    shine,     On   the       ling,    ho!     on    the 


ling',    ho !    Aiid 
ling,     ho !    And 


2^ 


i 


^ 


^ 


^      »^ 


I 


a^^ 


JU^  J'jl'i- 


^^ 


w 


f^ 


r 


oh,         'tis      mer  -   ry,  when    moon        is 
oh,         'tis      mer  -   ry,     to         feast        at 


high,      To       frisk         and 
ease.       To       spring       and 


trip  'neath  the 
scamper,  when 


I         I 


''iHt 


r^^ 


f 


3t^ 


^ 


=F=?c: 


^m 


i 


^SE 


'tr- 


m 


^ 


r^  '"^ 


I   i    i^ 


1/    !a        la! 
la     U        la' 


no  -  bo 


r 

er 
dy 


1^^^^^ 


sky  On  the    ling,  ho!  On  the      hng,  hoi  Tra,      la 

sees.  On  the    ling,  ho!  Ou  the     luig,  ho!  Tra,      la 


S 


-* 


162 

Abbie  Far  we  11  Brown 
From  the  Italian 

InTvaltz  time  J  •  =  52 


Naples 

(Book  Three, p.  40) 


Italian  Folk  Song- 


.^-  dolce 


^,VJ.  Ji.^JiiJ  ^ 


^ 


EE^ 


^^ 


w 


l.Dome     of    az-ure      sky       O'er      sea         of       az    -      ure!  Land  where  momeuts      fly  In 

2. Gar  -  dens  near  the     sky    With   gleam  -  Lng;    foun  -   tains;  Vine- yards  climbing^     high      The 
3. Here      up-on    a        hill         A       fair    -    y       pal    -     ace;  There     a    sil  -  ver      nil         Di  - 


dream     -     y  pleas     .     ure!        Ev     -     er   dear  to  me 

migh     -      ty         moun    -     tains;   Treas  -  ure  fair    to  see 

vides  the         val      -       leys;      Cav  -  eras     in      the         sea 


Your 

Your 

Of 


fra 


grant 
ners 
ure 


hours 

hold, 

blue. 


Land 

Fruit 
Fair 


of 
of 
to 


flow'rs,        O 
guld,  O 

view,  O 


Na 
Na 

Na 


pies 
pies 
pies 


dear! 
dear! 
dear! 


^ 


Sweet 

Pur 

There 


the   summer 

pie  grapes  to 

a  moun  -  tain 


m 


breeze 
eat 

stands 


That       blows 
So         rich  _ 


With      heart 


m 

so 
ajid 
ail 


^ 


gren 

juic 
bum 


163 

.  1 


Uy: 
ing. 


I 


D.S. 


^ 


tSB 


F  I  L_r     F 


D    rail 

}\  j\  j\  i\  ji  ]m 


Soft  the    hum    of  bees 

Figs         and     al-monds      sweet, 
Gucir  -    dian    of     the         lands, 


In  or 

A  store 

So         bright 


angle  bowrs.Tra  la  la  la  la' 
un  ■  told  Tra  la  la  la  la' 
of       hue.  Tra    la     la      la     la' 


Laurence  Alma-Tadema 

'  =  63 


Near  Autumn 

(Book  Three, p.  42) 


>P'U      F    pM^    J|J''J'I   }   J'    J'    ^ii 


Horatio  Parker 

C'lmposed  lor  (hii   SenfS 


1.  Red       ap  -  pies        in        the  leaves,  Red       Rob- in       on        the  bough.  The 

2.  White    foam    a     -      long    the     sea,  White      mist     up  -  on        the  dawn,  No 
.3.  Black  -  bird    is           si    -    lent,  lone,  Black  -  ber  -  ry     decks    the           spray;  And 


.{.  Black  -  bird    is 


Si 


^^ 


^m 


p 


m 


^ 


tt 


^ 


^ 


oats        are    all       in 
flow   •    er     for       the 
du    •   tunm's  breath  has 


sheaves;      Wnore's  sum    -     mer . 

bee ;  'Tis  sum    •      mer . 

blown  Up  on  the  _ 


now? 
gone, 
day. 


164 


Wilbur  Weeks 

Allegretto  J=s 


The  Snowflakes 

(Book  Three, p  41) 


Neapolitan  Song 


When        o'er     the  fields   the      snow  -  flakes  Are     fall 
o'er     the  fields  the      snow  -  flakes  Are     fall 


ing-,      are      fall 
ing:,     are       fall 


in?,      I 


'>'M  1  IfiJl 


4 


^ 


•firirrf^^rirrrtiri 


ifN^J'J  niJ'J'M^ 


m 


^ 


f 


53: 


■vvatch  Lhem  slow-ly      drif-  ting'.  The    dis  -  tant  lands   re  •    call 
nev  -  er  miss  the   springtime    Or     mer  -  ry  birds   a  -    call 


rng-, -Where  spic  -  y  breez  -  es 
ing:.  The     si  -  lent  taowflakes 


-h^i-jkntH^-uiJ-^i^i^t-ii^ 


iru''g.  ^";  'i/^  jir;  \'jr^ 


stray-  ing:  Thro'     orchards  flow-er    .    la   -    den,     A-mong'  the  branches       play  -   ing; Bring' 
blow  -  ing:    R^  -    call   the  dis -tant     coun  -  tries, Where   fragrant  winds  art     strow  -  ing-  The 


-^f  '\  I  f   U.  F  ''  ^-  ^^'   '  ^-  ^^ 


^n 


M  J      J'  J      J'  I  J 


^ 


m 


do-wn  the   flow-er        snow.     When 

earth -with  bios  -  som  snow.       When   o'er    the   fields  the    sno-w  -   flakes  Are 


^^ 


V  'II  J_j  •■  I  lis  ^<f  I  ijS  tr,r  I 


■0^ # 


fall         mg-    are     fail  ing;  My      fan-aes   are    re-  call  -   ing- Tlie  land  of  blossom  sno-w. 


n  is;  Tlj  I  ^rJ 


Seymour  Barnard 

AilegTo  legT^iero  J  _  132 


Ye  Olden  Christmas 

(Book  Three, p  4-3) 


165 


French  Christmas  Carol 


m 


^ 


1 


^ 


^ 


^ 


^ 


i 


1  Now     comes   the     time     for 

2  Now     comes    the     time     for 


hoi  ly       And 

laugh  -   ter,     For 


nus     -     tie 
catch        and 


1 


^^ 


toe; 
jest; 


Now 
Let 


^ 


^ 


w 


M 


S 


¥ 


^m 


2= 


i 


i 


^ 


^ 


E 


comes    the    time     for  fol      -     ly,      Bid  wis     -     dom 

ca  -  pers    fol  -  low  af      -      ter;    To  dance  is 


i^ 


^ 


^ 


i 


best. 


M 


IE 


lb 


P 


^ 


^ 


* 


1 


^m 


legato 


^ 


Hith  er,       ye  waits,         And  hie,      ye      mer  -  ry 

Light,        light     of  foot,  A  trip-  trip-  trip     the 


mum  -   mersi      A 
meas    -    ure, •'While 

legato 


^ 


^ 


^ 


E 


^^ 


M 


■9-' 


^ 


piu  dolce 


2: 


i 


i 


^ 


r   r  ^  ^ 


^ 


^ 


a        ■ 


5 


eree-ting     for      all 
time      al   ■    low  -  eth 


com    ■     ers;    Ye 
pleas    -    ure.    Trip 


home  -  less  strangers,  ho  I 

tnp,  thou    wel  -  come  gtiest. 


M 


4 


n  i-4 


i 


m 


('  7  ' 


^ 


^ 


166 

Ethelwyn  WetheraJd 
Vivace  J  =120 


Tree -Top  Mornings 

(Book  Three.p.  44) 


i 


Peter  Christian  Lutkin 


^      » 


^^ 


^^ 


I'^^How  I  like      tiie   tree  -  top 

2.    Oh, what      fun       on    tree  -  t<^ 


te 


morn    -    ings   in    the     ear  -  ly,  ear  -  ly   spring^  The  re's  a 
mora   -    ings    in    the     ear- ly,  ear  -  ly   spriiiglWhen  the 


^m 


^ 


rt 


^ 


-0 — 0- 


n'n  u 


^ 


^m 


m 


'i/^'  ii ii'i ji J 'i'i ^' ^' h}}^ }}'}}} M 


steady  sound  of  roaring  Like  a   score  of  rivers  pouring,  Or    a    hundred  giants  snoring,  Or    a 
wind    IS  loud  as  thunder, And  it  snapsthebougJisa-sun-der,And  it     liftsyou   up  from  undei;  Just  to 


\ 


^ 


^ta 


^ 


~9        i. 


I  ^' 


^  !K     5t 


*^        :i^ 


k 


r  cresc.   y-^  ^^  , 


B 


thousand  birds  upsoaringThere's a      rattle    as     of    battle  and    a     sort  of  splendid  swing    Of   the 
run  zig-zag  and  wonder  At    the    hurry  and  the  scurry  that  such  windy  mornings  bring;  At   the 


^ 


i     i     i     Jl 


m 


p 


^m 


« — # 


r 


^ 


*  Jt 


■=► 


i    ^^ 


fe 


!>    h    h 


»^ 


■F  p  P  P  ^'P  IP  ''F 'P  ^    ^^'  J'T-   F  r   ^ 


branches  and  the  curtains  tuid   of       almost    ev  - 'ry- thing.    Oh,  I 
flapping  and  the  slapping   of    the  clothesline  on  the  wing.     Oh,  I 


love       the  tree -top 
love      the  tree  -  top 


!"  J  J  J  p\^p}  J  jij:  ^m 


^ 


i    j   U 


167 


I 


^ 


^ 


k^ 


mom  -    'uig3   ill  Ahe       ear-  ly,  ear  -  ly       spring' ! 
morn  -    ing3    in  the       ear-  ly,  ear  -  ly 


^ 


^ 


III-  ^^ifjjm^ 

spring'!     In  the  ear-ly,  ear- ly  spring! 


i 


^ 


S 


-©-^ 


^ 


^^ 


^ 


^^ 


Robin  Goodfellow 

(Book  Three.p.45) 


Ancient  Engiish  Song- 


A    "i  =  160 


J  I  J  n 


^ 


P 


^ 


1=^ 


T 


From      0-ber-on      in       fair  -  y  -  land,  The    King    of  Ghosts  and  Shad  -  ows,   there, 


r  r  r  r  I  r  r 


^ 


s 


^^ 


Mad     Robin,    I,       at  his    command,  Am       sent     to    view    the  night  sports    here. 


r  LT I  r   3   'f 


^ 


^    ^  r  I  r^ 


^^ 


j}  ;M'li'i<,nr/i.l,l|^,'-^iP  nj;r| 


What    rev  -  el  roirt    is 


ev.'ry     cor-  ner       where      I         go?  I 


168 


Louise  M.  Bray 
Fmm  the-  Sztedtsh 

Poco  Allegretto  J .  =  60 


Tlie  P^ishernian's  Prayer 

(BookThree,p.47) 


A.M.  Myrbergr 


i 


^ 


m/ 


m 


;e 


^^ 


1.  Si    -    lence  o    -    ver  all,        while  the  moon     her 

2.  Si    -    lence         on     the  deep,     where  the   fish  -  er's 


u 


g 


"? — «i~ 


2^ 


f 


:^=5= 


^ 


m 


^ 


n  ^  '^ 


'T./ 


h=pF^ 


^ 


N  ^        ^1 


^? 


=g^f=^ 


f 


f 


f= 


* 


Bl. 


^ 


i 


^ 


^ 


f 


P 


bright  and  clear 
lap  her  keel, 


=F 


course  is  keep  -  mg,    Shi   -     ning 
boat      is     ly  -  ing ;  Wa%'e  -    lets 


out    of   the  midnight    sky; 
ligh-tly  they  sink  to      rest . 


i* 


;j  f  i'  I '  J' .' 


fe: 


^ 


)   I.j'  J     Jl 


m 


^^ 


w 


I 


i 


t^ 


^^ 


§ 


^=+-^ 


^ 


v-£ 


El 


^^ 


s 


^ 


? 


^ 


Moth 
Sit 


er 

tin; 


Earth     be  -  low,  neath     the  heav'n-ly      blue        is  sleep  -  ing; 

calm  -  ly    there,  gaz  -  ing    in    -     to     space    cuid  sigh  -  ing, 


i 


G    — = 


J         J'  (^ 


if^ 


^ 


±=td 


^ 


Count  -  less  stars     are 
Swee  -  tly    sings    the 


peep     -     ing  from  their  home      on       high . 

boat    -      man,  lulled     on    o    -    cean's     breast. 


^^^ 


^ 


^ 


m 


^m 


m 


\-y- 


m 


nff 


m 


169 


El?  Hear ray 


ray     prayer  f 


i 


Lf  P'L-TP 


"P      P"  —        ■        I — '      1-       U-J     k'     ^■ 

Hear.         ho   -  ly        Father,    tny  prayer!  Ho    -    ly      Fa  ■  Iher,    hear     ray  praypr' 


( 


i 


t'^i.  f  ^ 


I 


^  ^ 


^ 


1 


^^ 


Tf 


'-h'v  I    J'  J    J^ 


^^ 


f=^=i 


^^ 


^^ 


^ 


f 


I    iplH^U^l  I    M    JU 


^ 


#a  ! 


Fa      -      ther      of      fish- er- folk,  keep  , me     neath    thy  shelt  - 'ring-      care. 


^ 


9m 


^ 


w 


1^ 


*V 


gs^^ 


» 


3  31 


S 


^m 


f 


i: 


^ 


3:^     r 


^ 


^^ 


^ 


H=3^ 


i  J'  r  n 


^ 


^ 


^ 


T.  M.  Vol.  Ill— 12 


170 


Abbie  Farwell  Brown 
From  the  French 

Con  moto  J  =  80 


Naughty  Lisette 

(Book  Three.p.  46) 


French  Folk  Song- 


-   fJ  ^^ 


^ 


^ 


W 


m 


^ 


1.  Lead- ing- my  lambs thitf  pastures  wide,     Skip-piiig-  a  -  long:  so 

2.  "Xit-tle  Lis-ette  has  eyes  of    blue,     Hair  that   is  bright  ajid 


i 


m 


^ffffW 


m 


f 


•¥' 


^ 


i. 


i 


i^m 


i 


J'f,lJr|J  J 


m 


:^^ 


s 


* 


^ 


^ 


glad     -     Jy,      One  lone-ly  shepherd  boy  I    spied.Who   told  his    sto  -  ry  sad      -      ly: 

yel     -      low;     K    she  were    on-ly  kind  and  true,  But    she  tor-ments  a  fel      -      low! 


i 


^fffl 


i 


Wcresc 


m 


? 


^ 


^ 


dim. 


S 


^ 

^ 


m 


^ 


P ! 


i 


t= 


r  ppi  r 


IZ2 


^^ 


"Fair     is  Lis  -  ette   and      good    to 
Fair     is  Lis  -  ette   they       all      a 


see,    Sweet    as    the      aea-dow        po 
gree,  Though  she    is       ccld  and  haugh 


^^M 


^m 


f 


iy- 


m 


loi 


ffe^ 


T 

i 


r 


^ 


jn 


j_ii. 


^ 


^M 


.J_4J. 


J 


^ 


?^ 


f 


^ 


i 


V 


^ 


jp. 


rit. 


^ 


i 


^ 


^^m 


m 


i 


Ah! 
No, 

_Q 


Full     of      pains  to        me,  Like    thorn-  y         bri  -  ar 
nev  -  er      fair    to        me.  Lis  -    ette    is        cross  and 


^^ 


^ 


:=« 


k 


M 


^k 


t 


m 


rit. 


^ 


ro 
naugh 

m 


ses. 
ty!" 


The  Dance  of  Lhe  Fairies 


Ella  Broes  van  Heekern 

Tempo  di  Valse  J  =  i3:i 


(Book  Three,p  49) 


171 


E.  R .  Kroeg^r 

Composed  for  itbs  Series 


1.  The     nigti-tin-galesajig;"6  you   fciir  -  y  band,0)nie  merrily  dtuice  o'er  the    flowery  lajid.For  the 

2.  The     solenuig^ray  owl     in  the  old,   old  tree  He-wink'dandheblmk'daiidsaid^WiiatdoI    see!   In  this 


( 


m 


P 


I 


m 


m 


m 


m 


EiS3 


S 


m 


^ 


m 


5 


f 


"/ 


^ 


^m 


^ 


crt?cent    moon  hangs  low      to  -  night  And  the  twinkling:    stars  will    lend  their  liglit     Tl:in 
twi- light  dim     my    eyes  are  bright  ;'Tis  the  fire-  fly's  ball  that's  here     to  -  niglit."Th"n 


I 


^ 


m 


m 


m 


m 


I 


tt 


m 


^ 


m 


i 


^^f. 


^ 


^ 


n 


t^ 


^ 


^ 


^ 


5^ 


3 


a 


^ 


^ 


s 


:*£? 


2^ 


^ 


Vivo  «r=  152 


t 


^S 


^^ 


^ 


oi^i^  m 


E 


:t=* 


*— •-      •  -  *  -  •      p  '  [} 

hand    in     hand   they        gay  -  ly    swing.  Each      elf-  in      pair  with        gauz  -  y  win^^;    A 


round  they    go     in 


whirl  -  ing    dance.  Forward  and  back'^^ard  and   then    ad\'ance. 


172 

Laura  E.  Richards 

J.  Andantmo  J=S4 

4 


A  Hymn 

(Book  Three, p.  48) 


g 


W^^5^ 


P^ 


^ 


E 


p  1 1  t-  r  p  I  LP 


H»ratio  Parker 


^ 


tr 


• — •■ 


1.  For      all     the  pleasant   things      I      see,    I      must  give  thanks, dear  Lord,      to    Thee!  The 

2.  The     rob  -  ui     ui      the      leaf-  y  tree  SLng:s','Praise!"and"FVai£e'''aud' Praise     to    Thee!"  The 

'■  .t — ■ i 


i 


i  j'l  J  i.i  '1^ 


J'h    L   ^  ^Jl'^  ■!' 


^m^ 


m 


^W 


^^ 


Lgj  j  ^ 


*     w 


^ 


^ 


1 


^ 


^^'i,V  y    F  r   s 


,  bt 


^ 


^^ 


,g!> 


rr    piuf'H^ 


bend  -  ing  sky,       so      blue,     so  bright,  The 
sea       gull  on         the  waves    a  -  float    Still 


dais  -    y    raea  -  dows 
ut  -    ters"Praise!"with 


recn     and  white.  The 
arsh  -   er  note.    In 


t\K^'  ^  ^  hi    j^^ 


5^ 


*=* 


) 


^ 


The  sky       so      blue  and  bright,  The 
The  guU       on  waves     a -float    Still 

— V 


dais  -    y    mea-dows 
ut   -    ters"Praise!"with 


freen     and  white, 
larsh  -   er     note. 


^^ 


B 


± 


S 


^ 


wm 


m 


fs 


m^ 


Ct 
^ 


^ 


sil 
ev 


ver 


moon 
voice 


and 
of 


gol       -      den 
beast  or 


sun  ; 
bird 


m^f-jrf^^n^^}  H  ^  n  ^^^^ 


'Tis 
Tlieir 
_J 


^ 


The       sil  -    ver       moon . 
In  ev    -    'ry       voice. 


'  "  r> — 


^^^^ 


i 


'>\\^'  f'     T 


h — -J  J. 
c-jLf  r  ^ 


and       gol  -  den 
of         beast      or 


u  ls~ 


sun; 
bird 


Tis 

Their 


173 


^ 


ir'^r-lT" 


^ 


-6M 


I  J- 1 >- III 


Thou  hast      made        them 

love  and     thanks      may  _ 


m^ 


■  Ihi'il  i'\r  ^^ 


ev  -  ry     one,  ev-ry     one._ 

still    be    heard,     still  be     becird . 


m 


P 


^^ 


Thou hast  made,  'tis  Thou  hast  made  them  ev  -  'ry    one,  ev  -'ry     one. 

love and  Lhanlu, their  love  and  thanks  may  still    be  hccird,      still    be    heard. 


"Nellie  Poorman 

J  =72 


^ 


Evening  Hymn 

(Book  Three,p.52) 


J.  Neander 


W^ 


? 


-«»-: 


yny — ^ — a — ' — a — :g. — ^— " — z) — ^^ — :^ — ^^jf — rj — z; 

1  Fa-ther     in      Heav-en,  our      voic  -  es     are       joy-ful  -  ly 
For    all  Thy    kind-ness   our    thanks  we   are   grate- ful-  ly 

2  Give    us,    O         Ri-ther,  the      will    to     do     right    on    the 
Thoughtful  and      lov-ing',  may    we  bring"  our     comrades  no 


V5. 

row, 
row. 


^m 


i 


zS:i 


:g=:; 


az 


-»*- 


<a  • 


i 


*^ 


i 


¥ 


3E 


<»• 


Un    -    der      Thy 
Oh ,      may      we 


^^? 


ccire 
te 


saife    shcili 
ev    -    er    . 

-a-     ^ 


we  be        ev    -    'ry       .       where; 

more         pleas  -  ing      to  Thee; 


m 


o; 


9- 


^ 


^ 


^ 


=p^ 


7n~ 


-«-=- 


T5^ 

ing-. 
row. 


:5d 


Hear     the      glad 
Of        Thy    great 


^^^^ 


^m 


hymns    we        are 
strength  may     we 

i 


-9- 


T^ 


174. 


The  Seven  Swan  Ladies 


Richard  Aldington 

*  Sadly,but  not  too  slowly  J  =  80 


(Book  Three.p.  50) 


Walter  Morse  Rummel 

Compascd  for  Itus   Scriri 


^ 


^m4 


?=^F5 


^ 


r  I  ^cj 


<^-^ 


Last   night    the  flow  ring      hay    -      fields  lay     thick  and  smooth  and        grt'en;         But    a 


^m 


^ 


-t 


-*»- 


^ 


«i^=^ 


p 


^ 


^^ 


^^ 


^  IT  Bir« 


fc« 


f^^ 


t    >  T  r/ 


great  ring    now     is         bro 


kcnwherethe      sil  -    ver    wil  -   lows         lean.  For   at 


^ 


^ 


±: 


a 


V— 1» 


f 


g 


f^ 


^ 


i 


4^ 


^ 


r r  ^ M f  'LP 


^ 


r  r  ''  cj 


trts2=r 


dawn   the    Seven    Swan 


Flew 


down    to  the  flow'r-ing        hay-fields       and   danced   in  the  morning  glow 


^ 


ft^ 


¥ 


^ 


1^ 


175 


^U- 


^^m 


^ffii 


i^i^^^ 


1 


Their  white       feet        broke      the 


^ 


PP 


^^-S- 


espressivo 


M 


'-t — ^ 


3S= 


V — "W 


w 


T 


T 


i 


fe«— p 


MCJ  FP 


^ 


i*i 


zee 


TT 


fj  ii  g 


gras 


ses      and  the       red      flowers  ajid        the  g^old ; 


r  nann 


^w^M 


^ 


^ 


^ 


s 


-«*- 
^S^ 


i 


j4  ?iWZe  slower 


^ 


^ 


^#^ 


^ 


» 


i= 


But    we         slept,     and   the        Sev     -      en  Swan      La  -   dies 


s 


s 


w^^ 


distcvnt 


^ 


A  little  slander 


-»- 


fe 


^ 


^ 


IDC 


Flew 


fe 


)i 


home  to       the  ice  and     the 


cold. 


•XT- 


-O- 


=^ 


^ 


sustained 


m 


IT 


-»- 


subS 


176 


A  Tree  -Top  Duet 

(Book  Three, p.  61) 


^ 


Aninrato 


J=  144 


Marshall  Bartholomew 

Composed  i  JT  t.-^ii  SerifJ 


a 


1 


J3L. 


^^ 


f £    . 


A       bob-o  ■  link  and   a 


i^\  F  }  }i^ 


i 


^ 


W 


J  il  *'  J  J 


^ 


♦li 


y 


^'1.1  rjJ.flJ  ii'J 


5/' 


^^ 


^ 


[.n  rr  < 


K==at 


tr 


*^  p  JiJ  j'jiJ^hKhiJ^ 


poeo  piu  lentc 

i 


SES 


^ 


S 


^*3 


^ # #— ♦ 


chick- a- dte- dee  Sang' a  sweet  du  -  et         In    an      ap  -  pie  tree!' When  I'm    in    good  voice"  said  the 


i^ 


^m 


»-■*■•- 


^ 


f 


^   ^^^ 


g 


^ 


pocopm  lento 


^ 


^^ 


^       J  jt 


^ 


S 


m      r-        0- 


^e\f 


dolorosa 


\>F  I  h  h 


V],   *   *  J 


#    I" 


r  p  liir 


M  '  r  rp  [!i  I  B 


chick-a- dee-dee,  "I    can    sing-   like   you    to  high   Chigh  C.  But  I've  caught  such  a  cold  that  for 


) 


^m 


M^n 


5 


^ 


^ 


^ 


^^ 


^ 


•    d    d 


m. 


mf 


f  i   ''N 


<  r  < 


!^ 


^ 


r>  ^ 


E\} 


moUo  fit. 


^ 


animal  o 


m 


T  r  r  r  p  p 


r  P''^  ppii  r 


w     ■ 


) 


love  or  for  gold,   I   can       on  -  ly     sing'Chick-a  -  dee.Chicka-deel'  I  can     on-ly  sing'Chick-a- 


177 


^ 


i 


dee  -  dee  -  dee!" 


^ 


^ 


S 


^ 


J  ii'ij  hi' J     J 


r-f  p  p 


?/• 


^ 


tr 


D.C.Roberts 

J=  120 


» 


National  Hymn 

(Book  Three. p.  52) 


^ 


Horatio   Parker 


^ 


in: 


f 


-»- 


Tl~ 


f  7  4  f 


<9«>- 


-t^ 


IBJF 


-»- 


-»-  -^     -4- 

1.  God       of      our        fa-thers, whose  ai 

2.  Thy  love    di  -  vine  hath    led     us 

3.  From  war's   a    -  larnis,  Crom  dead-ly 

4-       Re   -  (rrsh  Thy      peo  -  pie     on    their 


migh    -  ty 

in  the 

pes     -  ti 

toil     -  some 


pyi 


^PX- 


hand  Leads  forth   in 

past ;  In  this    free 

leiicp,  Be  Thy  strong: 

way,  Lead        us   from 


-cr- 


m 


::tWP 


"vr 


11^  V  ■■ 

=4= 

— 

=^*=i 

0  ' 

«M — «— 

=8=J 

?f^ 

■=4=^ 

14^ 

1 — en , 

A — 1 

I* 

=^=^ 

S.\ 

beau  - 

ty 

all 

the  star  -  ry       band       Of 

shi     - 

mng- 

worlds 

in 

laind 

by 

Thee 

our   lot       is          cast;       Be 

Thou 

our 

ru 

-       ler. 

arm 

our 

ev 

er  sure    de   -    fence;     Thy 

true 

re 

ligr 

ion 

night 

to 

nev    . 

er  -  end  -  ing       day ; 

Pill 

all 

our 

lives 

with 

-ev- 
il 

v\ 

M 

n 

1       n 

1 — """ 

n 

— ^ 1 

1 — ® 

-« 1 

-^ 

■ J 

— 

^^ 

tzd 

kl  • 

•2 

V* 

11 

splendor   thro'  the 

guardian, guide,  and 

in  our  hearts  in 

love  and  grace  di 


a 


* 


i 


slues, 
stay, 
crease, 
vine. 


Our  grate -ful     songs  be  ■  fore   Thy 
Thy  word    our      law,  Thy  paths  our 
Thy  boun  -  teous  goodness  nourish 
And     glo  -  ry,       laud,  and  praise  be 


00 


n^u  1,1 


throne 
cho  - 
us 
ev  - 


a 

sen 

in 

er 


nse. 
way. 
peace. 
Thme. 


I 


178 


Lead,  Kindly  Light 

(Book  Three, p.  53) 


John  Henry  Newmarn 

J=  63 

0 


:' ' '  ?  J  J I J  J  J 


John  B.  Dykes 


^T^ 


=3 


V»A 


^ 


1.  Lead, kind  -  ly       Light,    a  -  mid  th encircling: 

2.  I     was     not         ev  -    er  thus,  nor  prayed  that 

3.  So    long-  Thy    pow'r  has  blest  me,  sure    it 


■>%'■!>  ■!  f  f  f  ^ 


i 


Lead    Thou     me 

Shouldit    lead     me 

Will      lead     me 


T:i 


^ 


i- 


V 


m 


m 


-6  — 


r 


^^ 


Lead  Thou  me 
Lead  Thou  me 
The      night     is 


§ 


on  I 
on; 
on 


Tiie  night   is 

I    loved   to 

O'er  moor  and 


dark,  and    I       cim    far    from     home, 

choose  and  see  my  path;  but        now_ 

fen,    o'er  crag- and  tor- rent ,      till  — 


J^bt 


T I  r  r  f  f  f  f 


P*A- 


M 


^ 


i 


^ 


s 


TV 


§^ 


~rr 


^r    r     rr=7 


^ 


on!- 
on!  _ 
gone 


^^ 


Keep  Thou    my  feet! 

I     loved   the  gar 

And  with     the  mom 


I  do    not     ask        to. 

ish      day,  and,  spite       of- 

those     an  -  gel    fac     -      es 


fears,, 
smile. 


^=e 


--i  .  .  ^-J 


* 


JP 


^ 


P 


ho- 


^ 


L  I  ii:  i  i  i  ^m 


r\ 


I 


tr 


The     dis   -    tant 
Pride  ruled     my 
"Which  I  have 


scene;      one     step    e       -        nough  for         me.  — 

will :         re  -  mem  -  ber  not  past       years  ! . 

loved       long  since,  and  lost  a     -     while.- 


Sir  John  Bowring- 

J  =  60 


^ 


irtea 


Father  and  P'riend 

(Book  Three.p.  54) 


■^-H- 


179 


Horatio  Parker 


r^"^T '  f  •  f 


■di 


2=f^ 


s 


f^ 


r 


tlu-o' 


1 .  Fa  -  ther    and 

2.  Thy  voice  we 

3.  We    know    not 
4--  Thy  chil  -  dreu 


Fnend , 
hear, 
in 
shall 


Thy 

Thy 
what 
not 


iJght, 
pres 
hal 
faint 


Thy 
ence 
lowed 
nor 


I 


$ 


L^^=J-J^ 


love, 
feel, 
part 
fear, 


Beam  -   ing- 
Wliilst   Thou,  too 
Of       the    wide 
Sus-tained   by 


m 


^T^ 


i^ 


i^^ 


^""ly 


i ;  1 1,    i 


5 


T 


all  Thy  works,  we sea; 

pure         for  mor    -  tal  sight, 

hcav'tis    Tliy  throne  may bp; 

de  -  light   -  ful thought: 


this 


Thy      g^lo  -  ry  gilds  the 

In-volved     in  clouds,  in 

Biit       this    we  know,  that 

Since    Thou,  their  God,  art 


^ 


^^ 


^ 


-hst 


-0-        -P^ 


^ 


^ 


t. 


i 


^^ 


l"^  ^  J  I  j^"-^  ijj.^ 


-*-xp. 


-^m: 


r7"'"l7- 


^f=^ 


T 

full  of 

life  and 

dwell  with 

Thou  art 


heav'ns    a     - 

vis  -    i 
where    Thou 

ev   -    ry   - 


bove,     And  all 

ble,       Rcigii  -    est, 

art.    Strength,  wis 

where,  They        can 


1 


S^ 


the 
the 

dom, 
not 

^1 


earth     is 
Lord     of 
good  -   ncss 
be       where 


f  f  if  ^  I  F  f  \?    ^\n^ 


m 


Thee, 
light. 
Thee, 
not. 


ee 


r    T    (' 


Refrain  for  all  Stanzas 


fcl^^4nJ^^;^j^^Ji^Jj_^-1  p  I  fV^ 


j.L^^|.^   J 


i 


^^ 


P^ 


3a: 


^ 


Thy  grlory    gilds     the     heav'ns  a 


bove,    And   all  the   earth      is 


1 


f^=# 


full        of    Thee. 


9 — 5^ 


-«- 


180 


Mrs.  Crawford 
.     Andante  J  =  76 


Kathleen  Areon 

(Book  Three, p  55) 


) 


?     P 


m 


^ 


1.  Why  should  we      par  -    ted    be,  Kath-leen    A 

2.  Give  me     thy      g'en  -    tie  hand, Kath-leen    A 
3    Why  should  we        par  -    ted    be,  Kat*i-leea    A 


m 


mf 


S 


^ 


FrajLZ  Abt 


_L 


roon! 
roon! 
roon! 


•When  thy  fond  heart's  with  me? 
Come  to  the  hap  ■  py  Icind, 
W'hen    thy  fond  heart's  wnth  me? 


^ 


wm 


^ 


-6t-=- 


I 


^m 


MOlto  legato 
t 


^TT 


^ 


:^=^ 


i       J  J 


4-J-^ 


^^ 


=i=J: 


.^'      J        J 


r 


r 


5<-=- 


i 


V" 


?  ^ 


er^Trtf 


^ 


s^ 


th-leen  A 
Kath-leen  A 
Kath-leen   A 


roon! 
roon! 
roon! 


Come     to       those       gol  -  dea   skies;    Bright    days     for 
Come     o'er    the        waves  wnth     me ;     These    hands   shall 
Oh,     leave  thaee    weep  -  ing'  skies ,    Where    man     a 


^^ 


i 


i 


^m 


ZM»Z 


J 


^ 


^-.k^- 


V- 


^-^-i- 


marc  a  to 


4=^ 


^ 


^ 


r 


r 


=r    pocorit.^^  ^^    p 


us        may    rise;         Oh,      dry        those        tear-  ful     eyes,  Kath-  leen      A    .      roon' 
toil       for       thee;       This    heart      will  faith  -  ful       be,     Kath-leen      A    -     roon' 

mar  -  tyr      dies;        Come,  dry        those       weep  -  ing    eyes,  Kath  -  leen      A    -      roonf 


Seymour  Barnard 

Allegro  moderate  J  =  132 


Cossack  Song 

(Book  Three.p.  56) 


Russian  Folk  Song- 


i 


m 


^^ 


i^ 


^ 


1.  Trot!     Trot! 

2.  Trot!     Trot! 


Trot!      Trot!       Men   and  horse  a         lus  -  ty     lotf  Fly'         FlyT 

Trot!      Trot!        Ev  -   er      on-ward,    pausing    not!         Beat!        Beat' 


av  :j 'r-f  rJ  i[vf 


181 


^ 


vr- 


^ 


^^ 


^ 


/• 


s 


Fly'.       Fly!         Fight- ing-   le-g:ioiis       ri-ding    by!         Cos 
Beat!     Beat!  I  -    ron  hoof  on         ci  -  ty  streotl       Cos 


sack,     Cos 
sack.      Cos 


sack, 
sack , 


:?l  rf  r  f 


f 


^ 


I i 


^^ 


*  U\   ^  "i    ^ 


e^ 


^ 


f 


Whither  ride  thy  hordes  a  ■  ■way?     Ev 
Naught  thy  ri-diii^  hosts  can  stay,      Rush 


er        on 

ingf      on 


^^ 


xiuAi;: 


ward,    Ever  onward.riigtit  and  day! 
ward,    Ever   onward,  far    a  -  way! 


m 


^^ 


-? — p^ 


Seymour  Barnard 

Maestoso  J  =  VoZ 


In  the  Lists 

(Book  Tkrecp.  60) 


Ancient  Gaelic  Song- 


m 


s 


J  .1  I  J    jWiJ  J^ 


? 


Kaight     er  -  rant     bold.v^nth  a  crest  of      gold;  Young    gallant      gay,  with  a  plume  of    gray;    Or 


^ 


^m 


^m 


1=8 


s 


-» 


^ 


^ 


^ 


^ 


^ 


i 


H — N 


J    J    I J  ;  j)  J^gJ^JI 


^s 


f^      tJ    ^-^ 


1     ^ 


black  kjii^tdread^^itha  gui-don      red;    Who'll      vie    -    tor  be     iii  the  lists  to    -    day? 


1^ 


!      r-i 


i 


i 


^^ 


'  ^  j 


n 


S=f 


'f 


*;:<    f^    p 


^ 


^ 


3^ 


182 


Josephine  Fbllard 
A     J  ^  152 


The  Singers  of  the  Sea 


(Book  Three,  p.  56) 


English  Folk  Song" 


n.f/n 


^m 


m 


cjf  ^^ir 


V — r- 


d  '    d 


Oh,    ma-ny  voic-es     hcis     the    sea!    A cho-rus  of    rare  mel  -  o  - dy.  The  sol-enin bass.the 


i 


1 


^^ 


« 


f 


^5  SSI 


^^ 


f 


r 


^ 


P*f^ 


J^ 


^ 


^^ 


F 


D 


S 


^^ 


ii^ 


g 


:^ 


m    »    m 


ligh- ter    tone,  Are    blent  in  tine-ful     u  -    ni-son.With-out  a  —  dis-cord;  soun-ding- higti    A 

X   ■     . — — ■    i         • 1  ■    '     '^  \ ■    ^   ^^^ 


^ 


^ 


^ 


^ 


m 


*  i  a  d  f 


^ 


^^ 


^=k* 


^ 


jS= 


i 


;?    ^   ^ 


;?     1  ^ 


^m 


*.5  ^   f 

,      G 


%/i^lrijJ|J^^ 


^33g2^^ 


— *— * — r 
bo  ve    the  lark  that  sweeps  the  sky,  Or  strik-mg"wifli  tu  -  mul-tuous  roar  A-gainst  the  Crowning;  rocky  shore 


i 


W 


i: 


W  ^  i 


m 


=^ 


^^ 


S 


rr^ 


9^ 


"=SS: 


:*=^ 


jj'jJI^J   'ii-'H    ij^^ 


The  Lincolnshire  Poacher 

(Book  Three, p.  57) 
Traditional  English  Folk  Song- 

Jonrially  J  -  =  96 


± 


^^ 


i 


i 


^^ 


i 


^ 


#--* 


*-nii- 


IWhen   I  ■was  bound  ap  -  pren-ticeboy  Li      fair- est  Lin-coln  -  shire,        Full  well    I  served  my 
2.  Suc-cess    to    ev  -  'ry     gen- tle-raaui  That  lives  in  Lin-coln-  shire!        Suc-cess    to    ev  -  Vy 

JIm m_ 


183 


^''OJ'Jiff.  ^iid'Ji|!Jl!i|!z^ 


mas   -    ttr    For  more  than  sev  -  en       year; Till       I       took  up     to         poach 

poach  -  er  That  ■wants  to     sell      a        hare  1 Bad      luck  to    ev  -  Vy       keep 


ing-,    As 
er    That 


^ 


m 


^ 


■^  n   h 


=*=K 


*-: W 


F:-'jy'^ir7.'ijj/-M'iji^;:"iijji 


«-= — 4 


0  •     0 

year! 
year! 


you  shall  quickly  hear.    6hf 'tis  my  delist  on  a      shi-niig'iii^t,Li  the  season  of  the 
will  not  sell   his  deer!    OhI'tis  my  de- light  on  a     shining:  iiigJit.Li  the  season  of   the 

^^-^ LA 


m± 


:&■: 


w 


^ 


r 


^9=i^ 


t^ 


^ ^ 


May  Morgan 

Moderate  J  =  84 
P 


A  Word 

(Book  Three, p.  58) 


Peter  Christian  Lutkin 

Composed  for  this  Series 


h'n\\i-    J'JJ'lr   'fp'^i' 


^^ 


w 


A    word's      agriev-ous  thing-     A- cross  the  world  to         go.         To      find         a  mer-ry 


A^^f+4 


i 


i^ii    nJi.-.J^^4^^ 


m 


^ 


^ 


r 


f- 


.V_ .      j_ 


f 


5^ 


Jlj'i  J    J  !i     J  I  f    P  '  P 


^ 


^ 


heart   And  leave  it     fuU    of       woe.      A    word's     a glad-sorae  thing-    To    trav- el  swift   as 


fe^ 


m 


m 


S 


S^E^ 


f 


f=T 


r — T 


55? 


fc 


^     J    U-JI 


^-    PT  ^ 


heart  And      leave  .it      gay    and       bright 


^^ 


ligtit.      To 


find        a  heav-y 


U 


^ 


f- 


i 


■  E 


134 

Nathan  Haskell  Dole 
Vivo  J  =92 


The  Old  Apple  Tree 

(Book  Three, p.  58) 


Folk  Song" 


i 


i 


^ 


J[  j'  J'  J  - 


^ 


^^^ 


¥ 


^*==9 


1.  Lone    -    ly       by      the 

2.  O      -      ver     it        the 


orchard  side.         Where        the   land  sweeps    free  and  wide, 
lus  -  ty  Springy       Fra   -    grant  gar  -  lands     used  to    fling- ; 


dt 


y 


^ 


r  U'  p  r  '  ^^ 


Stands     the       old     tree,    gnarled  and  dried,   Once  the  far-  mer's  joy      and  pride ; 

Still         the       rob  -  ins  g^y-ly    sing",      The'  no  leaves  to      bran-ches  cling-. 


) 


4=^5^ 


i^^ 


W 


^ 


i 


i 


^ 


^^ 


*FW 


■)'<  I, lip 


^ 


^ 


•  f 


^ 


^ 


^'F  I'a 


P^ 


Now  its     g-lo  -  ry's       crown  has  died.     Why  could  not    its      joy      a      -       bide? 

Now  'tis      on  -  ly  good    to    bring-       To     the  fire-place,  poor    old  thing;! 


Traditional 
A  With  sadness  J  =  84 


The  Nightingale 

(Book  Three,?.  59) 


English  Folk  Song" 


185 


^ 


with  sadness 


^ 


^ 


'^ 


1 .  My  love     he     was     a 

2.  His  fa   -  tier    did     con 
'■i.  The  four-teenth  of       No 

4.  The  vc    -    ry      night  ray 

5.  "O  love  -  ly       Nan  -  cy, 

6 .  I  raised    my     head   with      star  -  tied     cry,    hin , 

7.  My  fa  -  ther's  dwell  -  ing-        I'll      for-  sake,  hm, 


far  -  mer's  son ,  hm , 
trive  it  so,  hm, 
vera  -  ber  last,  hm, 
love  was  lost,  hm, 
cease  sur- prise,   hm. 


hm,  hm,  hm,When 

hm,  hm,  hm,  TTiat 

hm,  hm,  hm,  The 

hm,  hm,  hm,     Ap  - 

hm,  hm,  hm;    In 

hm,  hm,  hm;     His 

hm,  hm,  hm.    And 


1^^ 


^m 


^^ 


^ 


* — :? 


PP 


^^^ 


^ 


^ 


^ 


^ 


^ 


« #■ 


first    ray     ten  -  der  heart     be  won,  hm, 

this  young-  lad  to  sea  should  go,     hm, 

wind     it       blew  a  bit-   ter  blast,  hm, 

peared  to       me  his  dead  -  ly  ghost,  hm, 

Bis  -  cay's  Bay  my         bo  -   dy  lies,     hm, 

pal  -  lid     ghost  from      me      did  fly,      hm, 

far      a  -    way  my  way    I'U  take,   hm, 


hm,  km,  hm;  His 

hm,  hm,  hm;   He 

hm,  hm,  hm;  Viy 

hm,  hm,  hm.    In 

hm,  hm,  hm,  With 

hm,  hm,  hm;    I 

hni,  hm,  hm;    By 


love     to  me      he 

told     the  press -gang- 
love    was    in       the 

sail  -  or's  dress  amd 

all       my  mates  who 

lit  -  tie  tho't    when 

lone -some  wood    or 


I  i    i   i   i 


^ 


^^ 


^^ 


^ 


^ 


^ 


P 


* 


?  a 


^ 


^^ 


^ 


^^ 


did     re  -  veal,  hm,  hm,  hm,  hm,  But 

not     to      fail,  hm,  hm,  hm,  hm,  To 

dread-ful    gale,  hm,  hm,  hm,  hm.  And 

vis  -  ag^e  pale,  hm,  hm,  hm,  hm,  And 

once    set    sail,  hm,  hm,  hm,  hm.  On 

he      set    sail,  hm,  hm,  hm,  hm,  He'd 

dis-tant   vale,  hm,  hm,  hm,  hm,  I'll 


lit   -  tie  tho't  of  the  Nigh  -  tin  -  grale. 

press  my  love  for  the  Nigh  -  tin  -  gale . 

he  went  down  in  the  Nig^  -  tin  -  gale . 

told  his  fate  in  the  Nigh  -  tin  -  gale . 

board  the  ill   -  fa  -  ted  Nigh  -  tin  -  gale ." 

end  his  dc^  in  the  Nigh  -  tin  -  gale, 

mourn  his  fate  in  the  Nigh  -  tin  -  gale. 


T.  M.  Vnl.  Ill— 13 


186 


May  Morgcui 

With  majesty  J  =  80 


Patriotic  Hynin 

(BookThree.p.61) 


W.  Otto  Miessner 

Composed  (or  (hit  Sfries 


-i;ii  ii  ii/^w'iiitJ  j 


^ 


1 .  O  land  our      fa    -  thers  loved  and  served,  And 

2.  With  fer    -  vor      deep  and  joy    -      ous  praise,    Dn 

3.  May  jus    -  tice      be  thy         con    -  slant  guide.  And 

4.  fVom  foes  with-  out  and  foes  with -in,       From 


by      their  loy  -    aJ    - 

to         our  fa  -   thers' 

pu    -    ri    -  ty       with 

lust      of  pow'r   and 


^ 


iflJ     JlJ]     i     I 


^ 


""^   ^J      Ij:      ji'j 


pre-served,  May 
we   raise      A 
a  -  bide;     May 
cret    sin,      God 


we  to  thee     as 

prayer  that  thou   mayst 

peace  and  plen  -  ty 

keep  thee  safe     fnan 


faith 
ev     ■ 
ev 
year 


ful  prove  And 

er    be  A 

er  -  more  On 

to    year,  0 


W=^ 


^ 


thee     as        tru  -  ly 
ref  -   uge      for      the 
thee    their   bless  -  ings 
Na  -  live  -   land  most 


love, 
free, 
pour, 
dear. 


And 
A 
On 
O 


It- 
thee     as       tru   -    ly^  love, 

ref  -    uge    for        the  free, 

thee    their   bless  -  Lngs        pour. 
Na  -  five  -  land     most        dear. 


(Cs 


3: 


Ethel  B.Howard 

J  =  U2 


The  Fountain  and  the  Birds 

CBookThree.p.62) 


:i= 


^^ 


E 


^^ 


^^ 


,    j  See     the  crys-taJ,spar-kling  foun-tain  play, 

(See,     a -cross  the  lawn,  a  rain -bow  spray, 

2  (See     the  flit -ting,  chirp-ing-  songsters  gay, 

■  I  Birds  will  lin  -  ger  here  the  live  -  long  day. 


=^^ 


Swedish  Folk  Song" 


m 


High       a  -   loft    a      veil    of 
Trem  -  bling  bright,  on     ev  -  'ry 

Round    the  foun  -  tain  brim   in 
Swee  -  tly  with   the   fall  -  ing 


187 


^     5 


slI  -  ver    fling:  -   u'g" ; 
cir-cles  wmg-  -   ingf; 


F'     F   ^ 


^ 


blade  is    cling    -     ing-. 
wa  -  ters  sing'    -    iiig. 


Tin    -    Iding    foun  -  tains,  flash  -  ing, 
Feath    -    ry    wings   axe      drip  -  ping, 


-^ 


-^ 


^5 


E^g 


3t 


^ 


f,<^  J'.-ii  J'  J'  J,  j'l  J.  ii  J^  j»  I,  fi  I  j»  J' 


C\ 


Fall      in      sil  -  ver  splash-ing.    Drops     of    dia-iaoiids  dash -ing 
Dai n  -  ty  breasts  are  dip  -  ping,      Ti    -    ny  bills    are    sip  -  ping 


^ 


r    r    ij    ^   ^ 


In        thi;      sun    -   light . 
Li       the     sun   -   ligtit . 


^ 


3t 


Back  of  the  Bread 


(Book  Three, p.  62) 


Peter  Christian  Lutkin 


=  72 


PAii:^  h  ^  J  j.E^ 


f 


I'  i'  i'  JMi  N 


Cboip'tecd  fi-r  lh;s  Scr.ti 


^ 


U^W 


^   "  r- 


r 


r — r 


7" 


^^ 


Back    of    the  bread  is     the     snow  -  y    flour;    Back    of    the  flour  is     the      mill; 


^      ir'-^'-i|:^,^^ifvrfip  i 


;j-, ;  1,  ^  n  .^ 


i; 


I  J'  I  J'  J"  J    J> 


3 


P 


P 


r- — -T 


r 


r 


r 


Bark    of     the    nuU        the       grow  -  Lng  -wheat       Nods    on  the    breez    -   y 

J ^ 


■h\  f       F' 


^ 


ing-  -w-hea 


hiU; 


£a 


i 


r-     r-  '  r 


f= 


J^J,   I  J,  Mj,  J|J_   M'|„M   ^M   t|i-l 


-^ 


^^ 


r 


r 


0-  ver  the  wheat  is      the       glow  -  ing  sun,     Rip'-iiing  the  heart  of    the      grain;  A 


■h\  f       p- 


^i/Tfi-r 


^ 


H 


n  ^  N  Ni  f 


r..    P  f- 


f 


d,      * 


^  i'  j'  J'  J' 


r 


f 


bove        the    sun    is      the       gra-cious   God,       Send -ing     the     sun -light     and         rain. 


IBS 


May  MoiigBn 

Ihst  J  •=  120 


Song  of  the  Winds 

(Book  Three.p.  63) 


W.  Otto  Miessner 

Composed  for  Ihis  Series 


Jg^OHQ 


/^^^/jpTj  m 


i 


jf-j- 


^^ 


i 


^j(ff^-^^ 


^ 


^ 


T^=y 


f^ 


^=F^ 


^ 


r 


i 


z. 


£ 


^ 


1.  Blow,     north   wind,      blowt 

2.  Blow,     south  wind,     blow  I 


Bring: 
Melt  _ 


the 
the 


snow! 
snow; 


N 


^^ 


J*  Jo  J* 


^ 


m    m    m 


0     #^.  'g*^ 


y 


^ 


^ 


i 


i 


»ff  I  r   p  r 


X. 


E 


S 


^F I  r   p  r 


Bring-   the  bright    and     fros   -   ty  days;         Bring     the    ska   -    ting-    and      the  sleighs; 
Bring    a  -  gain       the      hum-ming  bees ;         Bring-     the    birds      and      bud  -  ding-  trees ; 


I 


^ 


M.-M m. 


i 


^ 


»— • — » — p- 


1^ 


A 


^ 


^ 


m 


^ 


t 


^ 


X. 


r\ 


fit.  e    dim. 


^ 


m 


^  i  ^ 


^^ 


^ 


p 


Blow! 


Blow! 


Blow! 


Blow,  north  wind, 


189 


2  Slower 


blow! 


^i^i  ^ 


^^ 


ir 


Blow,  south  wind,  blow  I 


Slcnoer 


^m 


m 


m 


'I  !  'I 


m 


^ 


? 


^m 


m 


r 


r  T 


$ 


-hj  1 1 1 


r 


Winter  Clouds 

(Book  Three, p. 64) 


f^pi_^< 


Margaret  Aliona  Dole 

Tempo  dl  mzircia  J  =  96 


^eu> 


Folk  Song- 


^i  J).  })  J*  J"  I  ^^^ 


>    I  ji    A  J'  i' 


l.Clouds  axe  roll- ing'    fast  a-cross  the       win  -  ter  sky, 

2. How  the  sun-light   fil-ters  thro'  the     clouds    of  gold, 


Balls       of  film  -  y 
O   -    ver  val-leys 


'■'Va/^rir/JiLtJiiJU'i^ 


\iA'  >  J'  ;  Ji  I  e 


t^ 


down.like  swans,  cire     floa  -  ting      by — 
deep  and  moun-tains  high     up    -    rolled! 


Birds, that  glide    a     -    long   a       riv-  er. 
On    the  fields  of       snow  the  creep-  ing 


m 


y= 


r  f  I  "I'-  ■'^p  p  I F  p  ■'''  ^ 


^ 


wild      iind        free, 
shad  -  ows       fall  — 


Or  like  gulls  when  res-ting  on     a      great    blue      sea; 
Shadows  blue    of    tree  and  cloud  and    motm-tain      wall; 


;ti'i>  J,  >',  J)  j>  ^^^ 


t    ill  J    f  II 


^ 


Bright  their  soft  white  feathers  gleam  as      forth      they         fly  I 
Yet    the  cloud  and    sky  and  sun -light    are         too  cold! 


^ 


uJ  JiuVJJi^^^-i"'^J  ' 


190 


Helen  Gray  Cone 
^     Allegretto   J  =  S4 


m 


^^ 


The  Dandelions 

(Book  Three,  p.  68) 

,J^^ ^ 


Georgre  W.  Cha(^vick 

Compoaed  fgr  this  Scries 


1^^^^^ 


i^ 


{      i  l|; 


1.  up    -    on  a    shuw-'ry        nigbt     and  still,    With    - 

2.  We        care    -     less  folk   the      deed      for-got.      Till 

1 


J      Ij.  i'     J'    i    '    J)         ii    J       ^ 


out 

one 


a  sound    of       warn     -     ing:,  A  troop       -        er  band   sur 

day,    i   -    dly      walk     -      ingr.  We  marked  up  -  on    the 


i 


^ 


« r^ — r- 


5 


i 


m 


^ 


^^ 


^ 


i 


^ 


^ 


^ 


^ 


i=:ip 


^ 


^ 


And 
A 


r=f 


I 


ingr. 


prised   the    hill, 
self- same   spot 


3^ 


^'  i  ^      J 


^ 


^^~~5^ 


eld 
crowd 


it       in     the         mora 
of     vet  -  'rans       talk 


w 


^ 


m 


p  r 


^ 


^ 

«*^^ 


^ 


^^ 


191 


i 


Ml    f  nW'.i'  i'  1 1     i  ,  , 


We       were         not  wak'd  by      bu  -gle  notes;   No  cheer  our  drt-arns  in  . 

They    shook      their  trem-bling'headsaiidgTay   With  pride  and  noise  -  less 


^j  - 


I      '      J 


E^ 


J'  I  i'.  Ji 


.J.        '    J"'  J' 


♦-= # 


^ 


^ 


*P 


Qig     f         t 


^ 


P 


js=s^ 


:r,',.i  iii.^^  ^'/.M^^^i'  v^r^jj 


va  -    ded;    And      yet 
laughter,     ^Vhen    well 


at  dawn  their    yel- low  coats       On    the      green 
a  -  day,  they  blew  a  -  way,       And  we       ne'er 


slope   pa  - 
met   them 


4=^^F^ 


^3 


Yet        their 
When    they 


£ 


i  J   J' 


♦ # 


m 


^m 


»; I 


V'»  f       ? 


p 


^ 


1 


^ 


fr 


'j^  '  r 


ra    -      ded . 
af     -      ter . 


^ 


I 


s 


^ 


JjTT  lijr  F 


^1"  ^.1  rp 


i 


:a= 


^ 


192 

Oliver  "Wfendell  Holmes 
A        And^lntino  J  =  80 


The  Comet 

(Book  Three, p. 76) 


Marg^aret  Ruthven  Lang 


CiicnpOi^^  tot  this  Srnti 


g 


^m 


V 


f 


The 


^ 


3t. 


(  •>  ^ 


t^ 


^ 


^ 


^ 


^ 


V 


flj/; 


^ 


W 


f 


J'  j'  I  J'  ;■  I:  jt  I  J'  J  j'  j'  I  i'.M 


^^ 


F^ 


FT 


com-etl     He     is 


|^^  J^  J^ 


on      his    way,    And       8iiig--ing-    as       he 


flies ;  The 


( 


* 


^ 


^ 
W 


9  S    - 


J,   J,  I  J  ;'  J  ^^ 


-» »^ 


i 


^ 


p 


i 


i 
^ 


\¥' nil ^V'  ^'^ 


^ 


^ 


■j  ». 


p  p  •  •  ^' 


^ 


193 


^ 


;<tJit  \^-{<}i^m 


well  ilnay    re  -  gaJ 


i 


orbs     burn  blue,  Aud 


sa  -   tel  -   lites    turn  pale  ; 


^ 


,=^ 


^^^^^^m 


Ji  ^J'   J  I   J'  J^^ 


¥ 


^ 


♦ 0- 


ffi 


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■iW. 


Broad 


I  M  i^  c  [   I  r 


s 


r^ 


s 


Ten  mil  -   lion 


cu   -    bic     miles    of  head! 


J'    }    J'lH 


^ 


E^ 


^ 


Broad 


^ 


fe 


S 


^ 


'H'l  F       g_ 


^ 


n:: 


E=r 


^'''  P       I    I 


^=4, 


m  mz 


^ 


^^ 


Ten  bil  -   lion         leagues  of 


tail! 


f'^  J      J'  ;. 


^m 


) 


$ 


r^: 


i 


«& 


^ 


194. 


Claudius 

J  =42 


Cradle  Song 

(Book  Three,  p.  87) 


Frajiz    Schubert 


1.  Slum  -  ber,      slum   -   bar,  tender   Ut  -  tie    flow  -  er,  Moth- er's       lov-mir« 


fe 


1.' Slum -ber,      slum   -   ber, 

2 .  Slum  -  ber,      slum    -    ber, 

3.  Slum-  ber,     slum  -    ber, 
£ 


en-  der   lit  -  tie    flow  -  er.  Moth  -  er's       lov  -  mg  care 

lit -tie    fa  -  ded  flow  -  er,  Still     doth     moth    -    er's 

lit  -  tie    an  -  gel    flow  -  er,  Tho'     thou      li  est 


£ 


j^/JjlJ    4    U   ^    ^'^^' 


^ 


^ 


I 


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J     ^  J   *'   J 


3==^ 


« 0 — ^—0- 


■0—^ — 0- 


pp 


^ 


=e: 


zc 


z: 


■It 


m 


oth    a  -  round  thee  twine ;  Sweet        and  rest    -    fiil  be this  hour 


doth    a  -  round  thee  twine  ; 
love    a- round  thee   glow; 
'neath  the   moa  -  sy      sod. 


Sweet        and  rest    -  fiil 

Stron  -     gier   is it 

Thou        shalt  wake  in 
P 


this   hour, 

than       deathJs  power,  _ 
ro        -       sy    bow  -  er ; 


Y''  J  J  ;  ^  ^^ 


i  '  i  ^  ^ '- 


Sooth- ing:   fall     this         lul-la-by  of    mine. 
Guar- ding  thee  wher  -   e'er  thy  spir-it     go. 
Ro  -    ses  grow    a  -    round  the  throne  of  God. 


195 


The  Minuet 

(Book  Three, p.  88) 


W,  A .  Mozart 


fe 


J=  63 
P 


^^^ 


i'iii\iU^i 


^=  J  g 


T 


1  .When  dames  wore  hoops  and  powdered  hair, 
2.    O   -   ver  his    la  -  dy  s   outstretch'd  hand 


And      ve  -ry  strict  was       et  -  i    -  quette; 
Each     gal-laut  bends  right   grace  -fal-  ly ; 


m 


^^ 


m  m  m 


■i  nu 


ms 


-0-      -m-  -#• 


When    men  were  brave  and       la  -  dies   fair,      They    danc'd  the    min  -   u        -      et . 
Gra-cious    of  mien,  with    man-ner  grcind ,     She     sweeps   a     cour  -  te      -        sy. 


m 


0     0     0       ' 


W 


^^ 


¥ 


f -I       I    ■\    -^    ■['   I   n^l— X^       j    J    J    J    I  j:  ^ 


Slip-pers, hig:hheeledwth     poin-ted  toe, 
Our  whirl -iag;  steps  of        mod -em  days 


Trod    state- ly  meas-ures      to  and   fro. 
Those  lords  and  la  -  dies  would    a  -maze. 


^ 


^ 


^S 


i 


crcsc . 


^ 


^^U 


^'\\l-U  J  i:J      .H 


5 


^^ 


Quite    demure, se-date,  and       bow-uig'  low      They  danced  the    min-    u 
Yet    the  min-u   -  et     we       still  must  praise     Rr    grace  and   dig-  ni 


et . 


^ 


-9r- 


Hi^    J 


i 


196 


i 


Brave  of  Heart  and  Warriors  Bold 

(Book  Three,  p .  88) 
Allegro  Moderate   J  =  SO 


Ancient  Dalecarlian  March 


M     g    ^     ^^   1 4j-g'4---J-Jl-=£=fci::^^ 


1.  Brave     of    heart    and^      war  -  nors  bold.  Were    the  Swedes    trom     tinie      wi  -  told; 

2.  Song-    of       ma  -  nya      thou-saiid    year  Ring^  thro' wood        and        vaj  -   ley    clear; 


dk^ 


^ 


m 


nf 


^^ 


^ 


i 


t> 


m 


&^ 


f 


^ 


T 


wm 


m 


4 


^ 


^    'i  J''    Jy^hj  I  J,  J.  J 


t 

Breasts     for    hon  -  or ev  -  er    Wcirm,  Youth-   f  ul  blrength  in he  -  ro      arm! 

Pic    -    ture  thou    cf -wa  -  ters  wild.  Yet  as  tears   of mouni-ing-  mild. 


I 


fu^^    \u^% 


^ 


s 


^^ 


Blue  eyes   bright  Dance  with   light,  For      tliy   decir green  val  -leys    old. 

To       the    rhyme  Of       past   time,  Blend     all  hearts    and  lists   each    tax. 


North! 
Guard 


thou   g-j  -  ant 

the  song's  of 


limb    of     ecirth.         With     thy  friend  - ly,         home  -  ly  hearth! 
Swe-dish   lore,  Love    and   sing-   them  ev  -  er  -  more. 


Shepherds  Song: 

(Book  Three,p.89) 


i 


Moderate  J  =  72 
E- 


197 


Folk  Song^ 


^ 


/T\ 


1 


P^^ 


¥ 


^^^m 


l.Moun  -  tains      bathed      in  raoni  -  ing: 

2. Maid,     than         sun    -    light        brigh  -  ter 


,I^W 


^ 


d 


light ;  Lark's  sweet         lays       to 

fcir,  Fair    -  er  than       the 

<^  I 1      >1 


i# 


^^4 


■ty 


r^  r  ^r 


^ 


^ 


# 


^ 


Cn 


1 


^ 


^ 


^ 


work     in 
mom  -   ing 


rt 


vite. 
star  ; 


Come  my      flocks, to  flow    -  'ry        mead 

Lips  of         hon  -  ey,       cheeks      of        rose, 


^P 


nn  ! 


^w 


3 


^ 


P=y 


?=^ 


P 


^ 


i^g 


P 


g 


^ 


P^ 


Shall       your      lov-ing         shep 
Fkre  ye    well    till  day 


lead, 
close! 


I'  Rtl'  i! 


t 


Come  my     flocks  ,to 

Lips  of        hon  -  ey, 


i^-fljj^ 


w. 


w. 


^m 


p^ 


^g 


i 


ps 


flow   -    'ry  mead 

cheeks      of  rose. 


ShaU       your      lev -ing  shep 

Fare        ye       well    till  day 


herd 
light's 


|-Wijl^  i 


lead, 
close!     ^ 


^^ 


'i  ''jjAm 


g 


f 


^ 


^ 


iz: 


P 


^ 


198 


Alice  CD.  Kiley 
From  the  Swedish 

Moderate  J  =  69 


I 


In  Ocean  Cave 

(Book  Three, p.  90) 


i^A'edlsh  Folk  Song- 


^ 


^ 


i 


^^ 


w 


^^ 


^ 


■W~r 


1.  Lo!      the  Sea  -  King-         lies       in  splen-dor    deep   in 

2.  Lo!      the  Sea-King-       sweeps  his  harp  string-swiJd-ly 

3.  Lo!      the  Sun -King-        rides     in     glo  -  ry    thro'    the 


m 


i 


22& 


i 


^m 


^^li    ^ 


'>'-^'i  I    '  i 


$ 


^ 


T 


7T 


^ 


I'-    Ji  I    k  J 


_£_ 


Ji  .'    »r      I 


^ 


0    -    cecin     cave, 
to  a         tune, 

morn  -  ing-      sky, 


crys  -  tal  o  -  ceaii  cave . 

wild  -   ly         throb-bing-  tune, 
gilds      the       mom  -  ing  sky. 


Lo! 

Love 

Lo!  the   Moon 


the     raer 
ly      Fre 


maids 

ya 

pales, 


) 


^^5 


EfP 


^^ 


f 


^ 


in: 


comb  their  floating,sea-gTeen  locks  and  sing- heath  the  o-ceiinwave.  Down  and  down  the  Moon  her 
hears  his  call  and  an-swers  with  her  rune, soft  and  ten-der  rune.  Hark!  a-cross  the  wave  the 
drops   her  Ian-tern  deep  where  cor- als    lie,  deep  where  cor- als  lie.      Hushed  are  now  the  songs,the 


199 


at         M         *    <- 


1  jnf' 


£ 


=^ 


p 


-rrr-rtr^ 


sil  -  vtr     laji- tern  swing^s       While     a    mys  -tic     rune    my         La-  dy    Fre  -  ya  sing's. 

ech  -  o      rolls    a   -    long!         There  in      o  -  ceau   cave     the       Sea-King- hearsher  song'. 

song's   of    nier-iiiaids  fair..         Where  is      Fre  -  ya    hid       (o        comb  her    gx)l-den   hair? 


A 


J'-  i'   I    J',    ii 


nf-! 


1 


^ 


g 


^^ 


^ 


Sln^s     of   pearls, -white  in 
Song      of   pe£irls, -white   in 


mil  -    ky  ^ sheen.     O 
mil  -    ky     sheen.     O 


Hark!    ah   hark!      still    her         love  -  ly      song-     Floats 


La  -  dy  Fre  -  ya, while  your 
La  -  dy  Fre  -  ya,  while  your 
o'er  the   -wa  -  ter,  e  -     chocs 


r 


p'poco  piu  lento 


'    n   Ji. 


^ 


^ 


£^ 


^ 


W 


locks  you  preen.  Sing-, 
h)cks  you  preen,  Sing, 
faint     and    long!     O 


sing-  your  song'    of      love  -     li     - 

sing-  your  song     of      love  -     li     - 

La  -  dy     Fre  -  ya ,  sweet     your 


ness  un  -  seen! 
ness  un  -  seen! 
love  -  ly     song! 


200 


Dream  and  Snowf  lake 


(Book  Three, p.  91) 


William  S.  Lord 


Molto  tranquiUo   J  =  *8 


^ 


II' F   PPf 


Maurice  Moszkowski 

Compocsed  for  Ihjs  Series 


p  P  J^  ?  J 


±, 


1.  Decir    ht-tle  boy, 

2.  Dear   lit-tie  boy, 

3.  Dear   lit-Ue  boy 


IN'  iiJii 


my  lit -tie  boy,  So 
my  lit-Ue  boy.  So 
my     lit-Ue  boy,         So 


i 


J'  iiJiji  ?ji 


^ 


ttA 


^m 


sempre  legato 


^^V^ 


f^^ff 


f ^^^P 


f^ 


r 


*    ^Sei.  *         '£W. 


^ 


^ 


^^IP"    PF  ^^f^ 


sleep     .        y.  So    sleep     -      y  I 

sleep     -        y.  So     sleep      -       y  I 

sleep     -       y,  So    sleep     -       y ! 


See         the  soft    de  -  seen  -  ding-     snow 
Close   thifle  eyes ;  Dost    thou    not      see 
Dreams    and snowflakes  down-ward    fly; 


t 


^^ 


^m 


^ 


201 


^ 


Glanc  -  •  iiig",  danc  -  ing-     to       aiid     fro,  Just 

Vis    -   ioiis  fair       ets      fair     cau     be  ?  They 

Soon,      too  soon,   they    bid  good  -  by,  Kiss 


to  pleas  -  ure         thee,         I 
cire  dreaius  come      down         to 
the  earth    and         mount        the 


g^^'^  J\   Jij'.   jii;  ^j'  J 


E 


^^ 


m)  m 


i 


dolce  tranquillo 


^ 


P  p  r     I  p  p  p  p 


£ 


know, 

thee, 

sky, 


Dear  lit  -  tie  boy. 
Dear  lit -tie  boy, 
Dear    lit- tie    boy, 


m 


ray  lit- tie  boy.  So 
my  lit -tie  boy,  So 
my  lit -tie  boy.  So 
1 


li    H  H  .S 


a 


II&2 


irr 


I    I    "1    I 


-M 


(CN 


^ 


*  * 


*  ■ 


sleep     • 

sleep    . 
sleep    - 


y. 
y. 
y, 


so  sleep 
so  sleep 
so 


y' 
y' 


sleep 


I 


so       sleep  -  y  I 

JS^ ^ 


^ 


^5 


^r=i^ 


# — -#■ 


* r 


T.  M.  Vol.  Ill— U 


%i). 


202 


Ann  Underhill 


Sleep,  My  Child 

(BookThree,p.92) 


fe 


=.-  60 


^ 


^ 


^ 


^ 


Now  close    your      eyes,   my  lit    -     tie      child; 


^ 


^^ 


-m  V 


^^ 


Sleep,       sleep, 


i 


^ 


p 


i 


r\ 


^ 


J'   .Ji  J^  J 


^ 


■ ■ « ■ a c: 

P       P       ^       P     I     f)      ^^ 


m       m 


soft     and  Wcirm.The 


snow  lies  deep,  the       wind    is       wild,  Lie     stiU   and  dream 


^^ 


i 


^ 


s 


s 


a   til  8 


o 


^ 


it_^ 


fe^ 


ri<. 


^ 


'T^ ?_ 


o  tempo 


p      p     I    P       EJ^^ 


^ 


safe      from  cold  and        storm. 


203 


Nightingale,  Sweet  Nightingale 

J.  S.StaUybrass  ^^""^  '^""'P-  ^^^  Russian  Folk  Song: 

J=  63 


g"'P"''P'P''p  'V  'cxr  ^'    ^  ^  r 


1.  Nigh  -  tin      -      gale,  sweet       nigh  -  tin     -      gale, 

2.  Once    you  lov'd     to sing      to me, 


Wild  -    ly war  -  bling 

Once     my  heart    was 


S 


..  -^^»^ -h^,;^.,  J|7jTii  -J    >|7  J    ^j 


s 


f   r  'TT 


f^^?3^ 


^ 


J  n,n 


# 


tcr 


nigh    -     tin     -     gaJe!  Whith  -  er would    you       wing    your 

fresh         and  free ;  Now      to me      that        cm  -  el 


flight, 
strain 


J  J'.j/Tll,    J  l|    7j       ^|.    J         ^1^^ 


m 


^m 


# 


r 


T 


i^rnnii.^  n  itiiii],  I'l^^ 


^ 


|j  '  uu'=s^ 


a 


r 

What 

CaUs 

i_ 


? 


young-   heart  make       glad    to 
those        qui  -  et  hours    a 


i 


night?         Nigh  -   tin 
gain.  Nigh  -   tin 


^^ 


gale, 
gale, 


r=^ 


in 


-cr 


n,   I    I    I'l      Hi  J 


^ 


i 


^ 


Ufj  '  r  r^ 


f 


nigh  -    tin 
nigh   -    tin 


gale, 
grale, 


A 


■>-^rf    r   1^ 


Swee   -  tly        mourn-  ful  nigh 

Swee   -    tly        mourn  -  ful  nigh 

Lf-  r   ir    r    IP 


tin 
tin 


gale! 
gale! 


^^ 


204 


Seymour  Barnard 
From  the  French 

J=84 


At  the  Forge 

(BookThree,p.94) 


V.  Miry 


g^ 


^^ 


^^ 


0  m  L   • 


m 


^^ 


^ 


/ 


^^ 


mm 


^ 


m 


-vj"v^3 


^^ 


^/^ 


p  J'  p  Jllp  iijiJi  JMp-  p  J'  p  Ji|>  JuUi  ■,■ 


^ 


1.  At    the  forgfe,fel-lcrws!Blow,blow ye  bel- lows!  Steel     so  stout, g'lowing-.Yields.yieldsto   you. 

2.  Blow  the  forg'e.fel- lowslRoar,  roar  ye  bel-Iows!  Now    the  base  met- al    Glows  like  a    star. 


^ 


m 


f 


w 


s 


/> 


m 


L  J'.  J  J,  i<  J) I  J  ji  ji  ji  j'l  J',  jn  J,  ii  J I  J)  ji  J,  j'p 


Fire,  the   old  foe-man,  Aideth  thy  blow,  man;  Tem-pests  here  prisoned,  Man's  woikshall  do.  Then 
Then  ,your  sledge  plyLag',Stars,stars  are  fly  -  ing;     Me  -    te-  ore     ti  -  ny    Near    and  a  -  fer.  Then 


7      J  15 

4  i 


^m 


^ 


^ 


^S^ 


5 


r  Ji-7p   i^-?if        p  T'lp  p  ■''p    ■^'''"■''  ^  ^ 


swing   ye,     ring   ye.  Sparks        fling  yel  Haste  ere  tiie har -  vest   is       pasi.  Then 

swing  ye,  swing   ye^  Sparks,       wing  ye!  Joy  giveth  strength  to    the     blow.  Then 


205 


|/p     Jtyp    i\:i\f  f    f'l   F    p    ''p     ■!' 


S 


B 


swuig-  ye,     ruig"   ye, 
swing  ye,  swing-  ye, 


Steel         bruig    ye !  Friends  are  the  fire  and  the      blast . 
Stars         fling:    ye'    Long   as  the  met-  al  shall     glow. 


^^m 


^ 


^m 


^^ 


f 


f 


!»=♦ 


t±f^ 


^ — * — — * 


r 


i 


^ 


^ 


^ 


^S 


=^=^ 


Met  -  al    rude,  Shape -less  and  crude.  On     our  forge  is  glow    -      ing ; 


h 


^ 


^^ 


f 


P 


/)/> 


V'kJ  4^^g 


^1^ 


■p-^—9- 


^^ 


•5S 


p  p  p  p  I  r    ^^i 


=1 


Hcun-raers  fly;  Flames  leap-mg  hig^;  Mig-h  -  ty      bcl  -  lows       blow 


ing. 


^m 


^ 


% 


^ 


f 


D.S. 


206 

Virginia  Baker 

AUeerretto  J  =92 


The  Bird  Catcher 

(Book  Three,  p.  95) 


( 


W.  A .  Mozart 
From  The  Magic  Flute 


1.  A —  ejay  bird  catch-er —  here  am     I.      I 

2.  Yes,     I      caii   call    them  from  the    air,    But 


lure       the  birds   fmm  bush  and   tree.  I 
some-thing-  elsr        I       loi^  to       do ;    I 


^^ 


I 


rnrm 


i 


rm  rm 


^m 


n 


J]J=3JlJ3li' ^  J^T#-pJ'.   MJ'T^ 


swee-tly'»bis-tle','Tweet,tweet,tw«et!"Andon    swift  wiii£>  they  fly  to     me. 
wish  I_  had    a — mag'-ic     net.     So    I    could  catdi  sweet  children, too. 


s 


##p*# 


^m 


« 


^m 


m 


#••    -*. 


^^ 


y 


^ 


dJJ^d^ 


^M 


=3 


i 


«   i         .,    /llJi   J^   /^nijM'    J^ 


E 


i^JJlJ'   i*^' 


^Z 


) 


^ 


By  young' and  old  thro'-  out  the  land  My     name  and  fame  a   -    like  are  known; 
The  best  and  dear- est    ones  I'd  choose.  And.     if     theykind-ly    smiled  at     me, 

■0-r  .r   r    0   r — x^ — 0  Tp^p  ,v — \ — r — 0- 


I  r  crrr 


^ 


^ 


^^ 


^^ 


±=.rd. 


h 


m 


m$. 


^m 


i 


i 


'      ''•^'r  PC/^IP  f  ^'^  ^^ 


^ 


r 


*3« 


I'm      al -ways  hap- py,     always  gay.  Be   -    cause  the  birds  are 
I'd     give  them  sugar,  sweet,  to  eat.  And         oh,  how  hap-py 


207 


I'  i''  J^^^ 


ail     my    own. 
we  should  be! 


It  Was  A  Lover  and  His  Lass 


William  Shakespeare 
Allegretto  J  =  76 


(Book  Three,  p.  98) 


Adapted  from  Thomas  Morley 


f 'fjil  i'-.p  p   p  I  M'  I'iii'l  F   p^p   p 


1.  It 

2.  This 

3.  And 


m 


was  a  lov  -  er 
car  -  ol  they  be 
there  -  fore  take   the 


and    his     lass 

gan  that  hour,  jWittia 

pre  -  sent  time,  ' 


hey  and    a    ho,  And    a 


■   ,^  J'  J  I  J'  J'  ;.  f 


^ 


• 


^ 


P 


mf 


^ 


^^ 


i 


^ 


■njtj'  j» 


^^ 


?^ 


Eg 


1 


hey,. 


ii 


non-ny  no,   And   a     hey_ 


at 

non-ny   non-ny        no,         How 

.  For 


^^ 


^       Ji   i)    I    J'        i^  J^^ 


^    J-  ^'  '^^  n 


and  a    hey  non-ny        no. 


and    a         hey    non-  ny  non  -  ny        no. 


h 


^^ 


^ 


^ 


* 


*j 


J 


m 


*" 


s 


m 


^ 


m 


208 


ta 


o'er      the     green  com  -  field    did   pass, 

that      a        life     was      but     aflow'r,  jln      spring-time, 

love      is       crown  -  ed     with  the  prime, ' 


^ 


1*— * 


E 


^ 


£ 


In    spring-time,  The 


^ 


In     spring-time.  In  spring-time,  The 


^ 


^m 


F  p  ^  I  r 


^5 


^ 


^^ 


on  -  ly  pret-ty         ring      time.  When  birds  do  sing,  Hey  ding  a  ding:  a    diii&.     Hey 


^^^ 


^    h  J'   h  •> 


m 


^^ 


I 


on  -  ly  pret-ty         ring      time, When  birds    do   sing. 


^ 


Hey  ding-  a  ding  a 


¥ 


m 


^ 


^ 


poco  raU. 


I''  P  P  F  p     P    I  F  P  p  ^'  ^'  F  I  ^''  ^'  >■    Jt  I  J-   i 


ding  a  ding   a    ding,      Hey       ding  a  ding  a  ding.  Sweet     lov  -  ers    love        the     spring. 
,  ^poco  rail. 


'J'         i'  il    ^  Ji  jl     Jl         J)  J      J': 


SEES 


^ 


»         ■         g 


ding,     Hey     ding  a  ding  a         ding     ding      ding,  Sweet    lov-  ers    love  the         spring. 


^ 


pom 


m 


"Tr«- 


209 


Nathan  Haskell  Dole 
Andantino   d  =Ti 


Glassy  Lake 

(Book  Three, p.  99) 


Polk  Soug 


^ 


^S 


^ 


V 


P  g  '     I  ^  ^^ 


^ 


I.Lake,  lake,  g^las- sy   lake!       Paddles  on    the    lake 
2.  Lake,  lake,  glas  -  sy  lake !         On  the   ice    o  -   paque 


Az-ure  rip-pies    make; 
Mer-ry  ska-ters    take 


^ 


m 


^ 


m 


f 


^ 


rj^^^Y\ 


fHf 


^ 


* 


m 


^ 


^ 


^ 


# 


M  f  r  EjJ'i  p  M  p 


While    the  wood-  ed     shores   re  -  flec-tions  Dance    a  -  way    in  all      di  -   rec -tions. 

Wind-  ing- ways  that       free  -  ly     wan-der        To     the    dis-tant       shoreline    yon  -  der, 


P 


,.n  m 


n  m 


^gf^^ 


r^   Ur 


s 


^^ 


^^m 


i^'iJ  I 


^^m 


i 


^ 


r^  f'  r  p 


g 


Laughing"  ech-oes       wake 
Where  the    ech  -  oes        wake 


On     thy  shores,  0         lake! 
All     a  -  round  the       lake  . 


lake! 
lake. 


^'  ^Jlui 


r 


m 


i£l5 


i 


(: 


^^t,'-  ^  J 


m    tt* 


-• •- 


^ 


lilO 


A.J.Waterhouse 

**=  176 


\Vlien  I  Go  Out  on  My  Wheel 

(Book  Three.p.lOO) 


Q    «<^  =  ]76 


wheel 


i — i^-n^ 


Peter  Christian  Lutkin 

Composed  tor  this  Scrir; 
1 


p    ^ — r~^ 

go  out  on      my        wheel,  my  wheel,        The 


When        I 


) 


^ 


J^rriirp 


rjj^^jjjjjjJi 


^ — « — # 


^e 


^ 


I 


.i      i  i   u 


J!     i'    ^     I  J'; 


town  fades       a       -       way; 


Fades       a     -     way       in  -  to 


^     Jj_j  J^  J  J    I  J   J"^  * 


iji^  iji 


*-■-# 


^ 


stretches  of        brown.  And  I        hear       the     mur-mur  of  brooks    that       run,  Thro'  the 


i>  JJJ^^^J 


^ 


p 


mifriTi 


=*=i=* 


sha  -     dy      nooks      till  they  greet      the        sun,    till  they       greet    the  sun.  And  it's 


2U 


j  r  ^  J  H  '  p 


-M- 


^ 


3^ 


n  ip  ji  n  .1  ,ii 


ho,       o   -    ho!     for    the         joy      I         feel     As     I  ride,  as     I        glide        on      my 


iu  ^  U- 


m 


^ 


^m 


M 


^^ 


^^ 


i  i'  i  w^  ^'  n 


3b 


f 


r 


'J 


steed     of    steel ;    And  the  day    and  its    mo  -  ments  are 


U 


^ 


all 


di-  vine,     As    I 


^ 


W 


* «■ 


i 


i 


^=^ 


i 


^ 


U  i'  '  U 


^^ 


ride  ou      my     wheel  and     the  world 


mine. 


f       f        F 


¥==*■ 


■=? 


^ 


A.J.Foxwcll 

Adapted  by  Seymour  Barnard 

AUegretto  J   =  66  '^'"^- 


The  Trout 

(Book  Three,p.  101) 


Franz  Schubert 


212 


^^^^^^m 


1 .  A  crys  -  ta)  stream  was  gli 

watched    the    brook- let    flow 
fish  -  er  -  man,  de  -fea 
_3, 


f 


dmg:,  Andgay  -     ly  did   it        run,  Now 

ing,  I  watched    the  fish-es      gleam;  I 
ted,  De-vised       aii-oth-er      plan;              The 


i 


3= 


si= 


Sr 


^^ 


-0-  ^^ 


m 


s 


^ 


£ 


**^ 


i 


^ 


s 


i 


^ 


^ 


f 


^—7 


deep     in       thic  -  kets     hi 
saw     an         an-gler    throw 
spec  -  kled  trout    he      chea 


^ 


ding, Now  flash  -  ing        in     the      sun. 
ing  His    bait      up     -    on    the     stream. 
_ted'    As    clev  -   er  an  -  glers  can. 


A  - 
The 
He 


P^ 


HJjJJ  r. 


=T 


^ 


^^ 


W 


\>i  i    1^    ^P 


r^ 


mid        its         li^ts  and       shad 
trout  would      dear  -  ly         love 
dipped      his  rod     and      drew 


ows  A  spec  -  kled  trout  did 
it,  But  through  the  wa  -  ters 
it    To    foul       the       crys-tal 


play;  And 

clear.  He 

brook ;  The 


|_ijj7}i;^fl 


li\it^  c^ 


JaJ*  ^    * 


^m 


s^ 


I 


^ 


*^ 


* 


w 


^m 


m 


t> 


^h^ 


m 


m 


^ 


f 


m 


rt 


res    -     ting 
saw       the 
trout,      be 


in  the  mea 
man  a  -  bove 
fore  he    knew 


dows,  I     watched 
it,  And    kept 
it.  Was    fast 


it    stctrt  and 
a  -  way    in 
up  -  on    the 


stay; 
fear; 
hook; 


And 
He 
The 


^^^ 


lj  a 


^m 


^|# 


213 


^ 


f 


res 

saw       th 

Irout.      b 


ting- 


P 


^ 


in      the 
man   a 
fore   he 


FT 


T 


^^ 


^ 


mea 
bovo 
kjiew 


^ 


^^^ 


dows,  I  watched 

it,  And  kept 

it,  Was   fast 


^^ 


i 


it  start  and  stay 
a -way  in  fear, 
up  -  on   the    hook 


^i7iJ^  r^ 


^ 


^^FfEi 


* 


^^ 


^^ 


^ 


T> 


George  Cooper 

A      Joy/My  J  =  104 


The  Bluebirds 

(Book  Three.p.  102) 


Myles  B.Foster 

Composed  for  this  Series 


""-    .-FM"      ^'Fp^p 


^   ^"Oi^iiiJ-^^^^^ 


( 


1.  A  mist  of        green  . 

2 .  The  snow-drop    peeps . 


M  i    1  }' 


^ 


on    the     wil  -  low;  A  flash  of        blue mid    the 

to     the  sun-light^herelast  year's  leaves  —   long-  have 


^m 


^^ 


m 


r 


? 


r=f^ 


r—r 


rri/- 


n^^t-r^ 


i 


rt 


'Eei 


«e^ 


S 


1 


cresc.  -       I 


i 


7 — r 

rain, 
lain;  . 


And      the        brisk  wind  pipes,      And    the       brook  -  let  stripes     With 
And      the  flu  -  ted    song:       Tells  the       heart,  "Be  strong",      The 


m 


^^ 


n  J  fij 


cresc. 


S 


BE 


E^^ 


^ 


—  ,' — ',    ^ 


214. 


rit. 


dim . 


s 


F  ^'  r  r  I  r.    r  r    '  r 


^    V 


dolce 


^^ 


sU  -  ver,  hill,    and        plain. 

dark-es.t  days    will        wane. 
rn .  aJem 


f^ 


Oh. 
Be 


hark!    _ 
strong: ! . 


^'l.     J'    j'   J     \v 


Hark!  the 
And    the 


^^ 


^=f 


^^ 


^^ 


^ 


Be 


hark! 

strong-! 


:?'''  n  J  j 


rf'm  .  P  dolce 


^ 


a  tempo 


i 


^ 


t^Krf-/ 


^^ 


m 


^ 


^^ 


cresc. 


r  ^  M  I    r 


blue  -  birds,  the 

blue  -  birds,  the 


blue   -    birds, 
blue   -    birds, 


cresc. 


ffi 


^^ 


? 


-#4= 


Hark!    the 

And      the 


blue 
blue 


birds, 
birds. 


the 
the 


^~"j     ^    is 


^^ 


I 


/oco    a    />oco 


*.'i,  f  f  f 


NW 


^ 


y 


i 


^"y 


^ 


>1>   ^      i 


Have        come     to       us  a 

Will  al  -  ways  come  a 


g-ain!- 
gain!. 


Hark!  the 
And     the 


^¥\F=F 


^m 


^ 


^^ 


? 


blue  -  birds  Have 

blue  -  birds  Will 


come    to       us  a 

aJ  -  ways   come        a 


gain!, 
grain!. 


m 


s 


^ 


^ 


f     r 


^      ^    *f 


Piuf 


i 


S 


^ 


rU. 


^ 


blue    -    birds,  the 

blue    -    birds,  the 


J'   1     >    J^  bJ: 


blue  -    birds 
blue  -    birds 


Have 

Win 

aJL 


come    to       us, 
al  -  •ways   come, 
rit. 


215 


Have 

Will' 


^ 


^ 


f 


Yes,       the  blue  ■>    birds  Have       come    to         us,  Have 

Yes,       the  blue  -    birds  Will  aJ  -  ways    come,  Will 


^"   P     P     f 


EJS^ 


come     to        us 
al  -  ways     come 


a 
a 


grain!  . 
gain!". 


fZs 


S 


^^m 


'i==f 


«>-=- 


come     to        us  — 
al  -  ways    come 


gain! 
g-ain!' 


216 


Robert  Louis  Stevenson 


Travel 

(Book  Three,?.  104) 


J 


Allegretto  vivace   J  =  96 


Daniel  Protheroe 

CorDposed  for  this   Series 


mm 


i: 


# 


J)   i^    .    J^    i>    J  W^ 


m 


F  P I F  P  C^  I  P  g  n  I P  P  L^^ 


tr — ■  V  V  y  y    v  v  ^~\ — v  v  y  y — rr— C3 — y  v  i^p 

1.    I  should  like  to     rise  and   gro       Where  the  gDl-den     ap-ples  grow;  Where  be  -low  an 
2.Where  a-niongfthe    des-ert  sands    Some    de-ser-ted      ci  -  ty  stands,       All    its  children, 
3.There  I'llcome  -when  Ira   a    man      With     a    cam-el       car- a -van;      Light    a     fire  — 


i 


^ 


^^ 


^ 


;t  I J^  J  J'  J' LP 


J I  J'  J 


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nyj  P  ^ 


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El-  w, 

J.  11  .       oresc.  1      L    "I        ■        "'■ 

oth  -  er    sky  Par  -  rot    is  -  lands  anchored  Ue,  an     - 


oth  -  hi    sky  Par -rot 

sweep  and  prince,  Grown  to  man-hood     a  -  g'es  since, 

in    the  g-loom         Of  some  dus  -  ty        di-ning  room,         di„-. - 
°  t       cresc.  •'  >         Tit. 


bJbn 


^^m 


chored    lie. 
g^es     since . 
ning:    room; 


ft^^ 


^^ 


a  tempo 


t^^rttHH 


Where  in  sun-shine  reach-ing-  out  Eds-tern  ci- ties,  miles    a  -  liout.       Are  with  mosque  and 

Not    a   foot     in  street  or    house,  Not     a    stir    of  child    or  mouse,    And -wiien  kind -ly 

See  the  pic-tures    on  the  walls,'  He-roes,f ights,  and    fes-ti-  vals;  .       In    a    cor-ner 

g  tempo ?      «/* . » '       ~ ' 


Q    I   ,     g  tempo ?      ./ ^ »  r 

S^  '-V'  j^  ;  J' ;'  I ;'  j>  J    I  J,  j,  j-i  J I  j-i  j^ 


0  0 


a  tempo 


217 


min  -  a  -  ret  Deep  mid  san  -  Bv         car  -  den; 


^m 


Dee^  mid  san  -  By         gar  -  dens 
Thro   the  town    no      spark     of 
-.Of    the    old    E    -     gyp  -  tian 


mm  -  a  -  ret 
falls  the    night, 
find  the   toys, 


^  ^'^^   i^  i' 


set  . 

light. 

boys. 


^ 


!'■    JJ  J,  I   J.    j!^ 


S 


w 


,i 


i,'-i>   g  ^-Vs^ 


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S 


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y 

^ 


i 


M.Louise  Baum 
J  =  92 


The  April  Folk 

(Book  Three,  p. 106) 


Max  Bruch 


v].ui^i}f\:!fhi!^n 


^Ei 


^ 


spring-  is     com  -  in 


iWmdto  ihi 


^ 


1. South Wmd to  tne  elm  tree  calls"Lo\'E-ly spring-is  com  -  ing,  Love-ly spfing-  is  com-  ing! 
2.Wil  -  low  doffs  her  fur-ry  cap,  Shows  her  yel-low  tres  -  ses,  Shows  her  yel-  low  tres  -  ses; 
3.  Peo  -  pie  from  their  windows  look  .Eyes  and  hearts  are    ea  -  ger,  Eyes  and  hearts  are  -   ea  -  ger  ; 


m 


s 


i:  i'i'  J'U  y 


w^ 


Troo.loo! 
Vio  -  let 
Sun-  shine 


Troo, 

Blue 

Chil 


loo! 
bird 
dren 


■^'J):)i    ,;^> 


^ 


ppP^P'F'-'rpip>pp'/  -^p' 


^ 


BuIl-frogB  an-swer;'Glu,giu,  g-lu!"  Rob-in  pipes  it,  "Too-tle,too-tle 
Vio  -  let  whispers  "Wait  for  me;"  Scarlet  decks  the  buddingmaple 
Out     of  doors  they  sly- ly    slip,    Toss  the  gladsome  news frornhp  to 


too!'Glu,gIu! 

tree;  wai-ting, 

lip;  glancing-, 


Glu,  glu ! 
ma-ting-; 
dancing; 


on'^rvrn 


T.  M.  Vol.  Ill— 1 


218 


^ 


j;,j;  i'''U!P 


rs  1 


A  -  pril! 
A  -  prUl 
A  -  prill 


Blue-birds  join  the 
Ma  -  pies  blush  -  ing: 
Old    folk      did       be 


cho- rus;Blue-birds.  All  the  world  is  mad  with 
o'er  us;  Ma -pies.  All  the  world  is  mad  with 
fore    us;  Old    folk.       AH         the  world   is   mad  with 


fM   J^  J^   J> 


i  i'  i   i  I  .i  ^ 


# 


-i- 


C\       (O 


1^'-  J~3  ^% 


^ 


i 


^ 


^^ 


^^^ 


1^     ^ 


^ 


Bl,  ., 


A  p  Til. 


;      ^      J'    I       i'- 


a  tempo 


m^M 


news    a    -    far, 

g"ree  -  ting"     are ; 

joy      un  -  bar, 


Shout  the  hap  -  py 

Song:  and  col  -  or, 

Heart  and  hope  to 
.  nrit. 


"Love  -  ly  spring"  is 
Love  -  ly  spring:  is 
Love  -  ly  spring:  is 
a  tempo 


com 
com 
com 


m 


ing-!" 
ing- 1 
ing- 1 


Ji    j,  J    I     J,     i^^ 


^W¥ 


^ 


^^ 


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nY. 


^ 


a  tempo 


3tt 


^ 


^ 


.  rit . 


Shout  the  hap  -  py 

Song-  and  col  -  or. 

Heart  and  hope  to 

y  rit . 


news    a   -   fer, 

g:ree-ting-    are; 

joy    un  -  bar, ' 

r\ 


Love  -  ly  spring:  is 
Love  -  ly  spring-  is 
Love  -  ly  spring:  is 


com 
com 
com 


ing-I" 

ing-I 

ing-t 


tT\ 


^m 


^ 


nt. 


^p 


=  £ 


S 


^^ 


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fe4 


i 


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Alice  C.D.Riley 

Quietly  J  =  88 


Gay  Liesel 

(Book  Three, p.  108) 


219 


Karl  Wahlstedt 


1.  When  the     May-beUs   all      are    ring--mg-,U%eii  tlie      sky  o'er-head   is 

2.  When   the     fields  of  grain,  are    wav-ing:,  When  the  lambs  frisk  on    the 
8.   When   the    flocks  go  hit h  -  er,  thith  -  er,  Gra-zing    %vide    up  -  on    the 


^ 


f 


E 


f 


^ 


£ 


J   >f,ig  p  niJ'|'j>;i,jJtt 


s^^'^ 


blue,  When  the  hap -py  birds  are  sing-ijig  And  the  cro-cusbuds  are  new, 
lea,  When  the  waves  the  shores  are  lav-ing  And  the  ships  plow  thro' the  sea, 
wold, When   the     pods  of  milk-weed  with- er   And  the    trees  rain  floods  of        gold. 


'»^un'l  ^  nr'^  ^  ^^'M^'j 


m 


^m 


When    the  breez-es  joy-ance  bring,    Then,    ah,  then      'tis  mer  -  ry    spring. 

When    the     rose    is  in       its    prime,    Then   'tis     love  -   ly  sum  -  mer  time. 

When    the    pur -pie      grapes  ap- pear.       Then    is      mel  -    low         au-tumn  here. 


^ 


^ 


i 


m 


Then  Liesel  is     happy, Tra  -  la,    tra  -  la!  Then  Liesel   is    happy  and  dances  with  glee.  Then 


mm 


.J  I .. J 


fcJ: 


-i- 


j^fff 


r-'    \^^  icr.-'  ipv  ir 


^B 


rit. 


|I^J'J.^lj'J>f,lf        ilJ      'JI|J>^|J4 


W=i' 


M^ 


^m 


^^ 


Liesel   is     happy,  Tra  -  la,      tra -la!      For    Liesel    is  good  as    a    maiden    can    be, 

J      .^  J     . .  ,    J     ,,  J 


tP^\iS'^\h'  Ir 


^ 


« i^'  If 


?S2t= 


:  P 


220 


Abbie  Farwell  Brown 
From  the  Frerwh  . 

Not  too  fast   J  =  100 


Punchinello 

(Book  Three, p.  109) 


French  Folk  Song- 


i 


jm  Ji  ji  ;^  ^i  i'^^JM  h  y  J)  ^^ 


^ 


f 


^^ 


r    •     r 


f~T 


Punch  has      ap- pies, cake, and     can-dy     At    his,      lit  -  tie    cor-ner       stall.      See   the 


'.M/'jT     if      p     if      |i 


^ 


»  ■: 


dbt: 


Ji/'i^|JUi\Ji|  h  J'  ^i'l  J   '^^ 


^ 


^ 


W 


a 


f 


r — r    T   t    'f  r 


ug--ly    lit  -  tie     dan -dy! Peanuts     too,  he  sells  them    all.     O  NDs-ter  Punch!  0  Mis -■ter 


^^ 


^m 


if  r * 


:hk 


f 


J  ji  Ji  I  J     ^  Ji  .ta^ 


-^    ,r 


M  /  ^  ^^  N ;  II 


r — T-^ — ^~t 


I!        O  Mis-ter      Nel!      OMis-ter       Lot      Mis-ter  Punch-i    -  nel  -  lo, 


Ho! 


•y¥t   f      If 


^^ 


Georg'e  Cooper 

Semplice  J  =  92 


Robin  Redbreast  Told  Me 

(Book  Three, p.  114) 


^ 


IJ'  >  ^'  ^  ^-  F 


aniniato 


^ 


Julius  Rontgen 

Cooiposed  for  Lhis   Serirs 


^ 


z? — 

told     me . 
told    me. 


1. How  do  robins  build  their  nests? 
2.\Miere  do  robins  hide    tteir  nests? 


poco  rit. 


Rob  -   in   Red-breiist  told  me, 
Rob  -   in  Red-brccist  told  me, 


221 


i 


a  tempo 


cresc. 


^ 


^m 


-!_E 


J'.  ilJJ'J'J' 


p-    p^^'^'ppl      lp-f)K^'pp 


1 


First      a -wisp  of  am-ber  hay       In      a  pret-ty  round  they  lay;  Then  some  shredsof  downy  floss, 
l^      among:  the  leaws so  deep.WTiere  the  sunbeams  rarely  creep;  Long"     be-fore  the  winds  are  cold, 


) 


cresc. 


i '  i'.  V  J'  J' : 


'dolce 


m^ 


0  F  0 


Feath-ers,  too.and  bits  of  moss,        Wo   -    wn        with a  sweet, sweet    song-. 

Long"  before  the  leaves  are  gold,     Bright -eyed      stars wll         peep     and     see 


A: 


n.n  n  [^ 


^^ 


W 


■oj- 


zrr 


\ 


cresc. 


^ 


dolce 
P 


f 


cresc.  e    string 


*       "i/^tii/.    c     filing 


w/' 


ammato 


^ 


^ 


This  way, that  way,  and     a  -  cross: 
Ba  -  by    rob-uis,  one,  tWT),  three: 


That's  what  Rob -in     told      me. 
That's  what  Kob-Ln      told     me, 


r.J        ^     .>'j-  ■   J 


/ioco  rit 


^^ 


^W 


?^ 


cresc.  e    string 


W^ 


^^ 


ammato    "j/" 


g 


^ 


^^ 


vv 


rit. 


^ 


told     me 
told     me 


a  tempo 


^ 


rit. 


r  P    C    I        f 


i 


/"/i  ^en/o 


i 


=g 


*  ■* 


-<?>- 


rr 


77 

pp  rit.    p 


^ 


PP 


^ 


r   F^l-^T^ 


f 


^^ 


J22 


Nellie  Poorman 

J  =  U6 


A  Sailor's  Life 

(Book  Three,  p.  U5) 


Hendrika  van  Tussenbroek 


M 


^ 


^ 


^ 


i'  J'  J'  J     J'-  I 


1.  All      an  -  gry   tem-pest     sweeps  o'er  the   sea;     Storm  -  beat-  en,   the  wild  waves    are 

2.  The  bleak  wind  shrieks  and    wails     o'er  the  ship;     Grim,        ra  -  ven-ous  waves  high   are 


a»a 


ife 


^ 


j  U'  I  ^  r.'  p  p 


E 


lash 
tow^ 


^m 


ing;         Un  -  leashed, tos-sing  bil- lows  go       ra 
'ring ;        The     drear,  stor-raing  sky  wears  a        hos 


cing   by       With 
tile  face,      And 


^^ 


i 


^ 


^ 


E 


/   * 


TfV 


^ 


gg^-"rr»p^ 


^ 


'^^   j 


^ 


/  J  i'lr^Jy-U  j^]iiVVjK'J  J^'^'irr  r'F 


clam  -  or  and  roar  -  ing  and  crash  -  ing .   But  sailors  axe  fecirless.they  never  quail  ;TheLr 

low  scudding  clouds  black  are  low  - 'ring.    Un      -        daun-ted,the  good  vessel  sails  a-long;Her 

t.>^    I       ^1    <1    r-^.  I  ^%.h%       ...    I     n  I  J  J  J-  ^ 


^ 


■     ^  i^i      ^ 


i 


s 


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i 


^^ 


f 


f 


A- 


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f 


^j^it'*  f   rj*  # 


^^^ 


^ 


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#— 'S^ 


Iskt 


cres 


S 


cew       -do  . 


? 


r — '- 


hearts  are  de  -  f  i  -  ant.tho'  threat-'ning  the  gale  ;With  songs  on  their  lips.thro'  the  tenqjestthey  s^lil . 
stout  keel    is  stea-dy,her      tira-bers  are  strong  ;Her  crew  mock  the  storm  witha    rol- lie-king- song". 

». «   J   J~J   I    r-1  .  .      1^   I      h ,  J 


W^ 


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n  J   r-i 


i 


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cen 


is 


do 


1 


f 


^^ 


17 


Hoffman  von  Fallersleben 

J=72 


Springs  Messenger 

(Book  Three.p.  117) 


223 

Robert  Schumann 


I 


fe 


i±j  j\^  in'\-'i  nil 


^ 


^ 


i 


1.  Hark!  from  the    for    -    est  calls 

2.  Hark!  from    the    for    .     est  calls 

3.  You        are    a      he    -      ro,  val 


e  cuck-  00. 
the  cuck-  00. 
iant  cuck  -  oo. 
T  ? 


Ligh 

'Come 

Win 


tly  he's  swing:  -  ing", 
to  my  bow  -  ers, 
ter    is      fly  -     ing, 


5'  '*  j)    J'  J 


^ 


i 


^m 


$ 


E 


^^^^ 


.* 

^ 


y 


i 


i 


i 


^ 


Gay  -  ly  he's  sing  -  mg,  Gay  -  ly 
Pluck  all  ray  flow  -  ers,  Game  to 
Vexed   by  your  cry  -    ing;       Win  -  ter, 


he's  swing -ing-   and         sing 
my  blos-som  -  y  bow 

old    win  -  ter     is  flv 


^5 


1     N     h 


Z. 


ing- .  "Spring  -  time  I 
ers.  Spring'- time! 
ini,"-.  Spring-time! 


^m 


^ 


5 


r — r 


spring  -  time!      Spring- time, welcome   to 


i 


^ 


^^ 


Spring-  time!      Spring-time    cometh    a 
Spring  -  time!      Spring-time  conquers  a 
it  P ' T^ 


you!  Spring-time,  Welcome  to  youl" 
new!  Spring'-time  cometh  a  -  new!" 
new!    Spring'-time  conquers    a    -     new! 


^ 


224. 

May  Elizabeth  White 
Andantino    J^=  69 


My  Bedtime 

(Book  Three.p.llti) 


<^^\l  i\ 


Horatio  Parker 

CuCDpoKd  lor  thii  Serirj 


^?i   ^^     p     I     P-  P      ^^^ 


S 


r^^r^^ 


l.When  the         sun  has  gone  to  bed,  Shi  -  ny     clouds  a- round  its 

2.    I        go  slow       -        ly       up    the         stairs,        Kneel  and       say  my  sleep -y 


l^i[  j<  ji  I  J'.       Ji  Ji.  i  1^ 


m 


^m 


"»*■  ^ 


|.^ii  n 


1 


^ 


^ 


^ 


^ 


T 


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1. 


'^^rn 


rp- 


i 


ii 


^^ 


E 


pl    P'         M 


head;       When  the       clo    -     vers    g-o    to         sleep.  And  the  birds  for- get  to       peep; 

prayers.     From    my       bed  a-gainstthe      wall,  I    can  heiir  the  crickets     call. 

)  . ?_ 


IWiliJ.      JiJUil;-'j  ^|j)lii 


Pi5 


m 


^ 


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1  "  J 


r 


3^ » 


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— ^JT 


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f 


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f 


F 


Abbie  Farwell  Brown 

Andantino  J  =  120 


s 


^m 


^ 


pp 


z;: 


f 


IE 


Friends 

(Book  Three,p.l24) 


Mrs  H.H.A.Beach 

Composed  for  this  Series 


I  II    I    I   ,1    I  I  I 


^ 


1.  How       good    to     lie      a  lit     -      tie  wliile    Am 

wind  comes  steal-ing         o'er         the  grass    To 


i 


^ 


^^N 


r  J    J  '  j 


i 


fc«= 


(b      *  *  '  m      ~0^^ 

look    up   thro'    the 
■whis-per    pret-ty 


^^ 


^Fi^ 


225 


r    «r  rT~r    r  t  t;r   w 


tree! Tlie        sky    is      like    a 

things; And     though  I       can-  not 


kind,    big  smile    Bent 
see    him     pass,  I 


(i^ 


N 


^m 


16 


r     «r- 


SEfe« 


i 


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^ 


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•^'ii- 1  i) 


u 


^ 


i 


cresc. 


^    J    J    J  I    J 


i 


^iT      r      ^    r  r  r  r 


The      sun-shine  flic  -  kers   thrdugh  the       lace    Of 
So       ma  -  ny    gen  -  tie      friends   are     near.  Whom 


s'vv'ee  -  tly     0    -    ver 
feel     his  care  -  ful 


me. 
wings . 


^#M^ 


i 


I 


m 


F 


^ 


^=^ 


FT 


^^Ff^ 


PP 


cresc. 


^ 


V  J  J  J  J I  ^1-  j'l  rj. ,  J I  ji ,^^^ 

r  f  f    V  '  f  — r  ^r 'r  r     r*  r  '  f  -f-^-^ 


leaves  a  -   bove      my         head, And       kis  -  ses         me    up    -    on      the  face  Like 

one    can   scarce  -ly  see,  A         child  should    nev  -  er         feel     a    fear,  Wher- 


P'  i  J  -J  4 


i 


J.  i'  i.  J 


J.   JTi 


f^ 


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p 


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i"j/j 


OCO  77'^ 


^^ 


m 


i 


I-      Ml 


.  T    r 

Moth-er     in     my        bed. 
ev  -  er     he     may      be . 


2.  The 


r\ 


w 


f 


-6H- 


^j-poco  rit. 


PP 


a  tempo 


^ 


M 


M 


^^^ 


2'26 

Ethel  B.  Howard 

Andante    J  =  72 


The  Hillside 

(BookThree.p.US)  pelix  Mendelssohn -Bartholdy 


r   F  r  M  p  ^ 


^-=- 


^^5 


■     « 


1.  Dost     thou  know  a         fair   -     er      place       Made 

2.  Dost     thou  hceir   the      whis  -p'riiig:    trees  To 


by  spring-  be 
tlie  wind    re 


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^ 


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gTji    -    Ung-? 
ply    -    ing"? 


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'-m?-  n 


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.2. 

:2= 


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May-time  here  shows   aj]   her  ^race,  Batheil     in  sun-Iigiit   ami  -  ling.      Or.wlientwi-light 
Hawtliorn  bow  -  era     lure  the    breeze.     Rus  -  tling  soft  and     sigh-  ing.   Clear  and  cool  the 


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cresc. 


dm.       raZi. 


[lIj  f  _  I  J'  j'^^ 


2^ 


F  •    ». 


r'  F  F  p'^'"pr 


^ 


^^ 


o'er  the  air  Spreads  her  sa    -    ble  pinions  dreamy,  Here  theyoungnioon^slimaiidfeur  , 

brooklets  flow,  With    a       soft,  sweet       sound   of  singing- ;Ikirhued  flowers    bud  and  blow; 


s 


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p  o  tempo 


rail. 


"J-  it  r  y  r  f  f 


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.(2. 
:2z 


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Sheds  her  sil   -    ver        gleams, 
Tlius    to    greet   the         spring  _ 


_  casts  crystal        beams . 
.smiles  ev-'ry   -    thing:. 


^=^=^ 


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1-7 


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« — « — * 


r 


Nathan  Haskell  Dole 

Allegretto  J=  112 


The  Squirrels 

(Book  Three,p.l25) 


'Folk'  Song- 


fe 


i 


—m — 
has 
the 


1 .  Jack  Frost  thro'        the  woods 

2.  ChiJ    -      dren  hun     -    ting-  'mid 


passed . 
leaves 


fe 


i 


# 


m 


i 


FS= 


r" 


s 


^m 


m 


=k 


^ 


^ 


^ 


* 


Bt 


^^ 


Leaves        are 
Squir    -     rels 


turn 
look 


up 


nuts 
on 


fall 

cl9 


fast.  . 
thieves! 


^ 


i 


=p 


^"T 


^ 


^^ 


^ 


^^ 


^ 


^ 


El. 


_z 


»      f» 


^ 


^ 


As    they 
Chestnuts 


g-o       scat 
and     wal 


t'ring-, 
nuts. 


i^ 


^3^ 


Squir-rels 
A  -  corns 


are 
and 


chat 
all 


tring:, 
nuts. 


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^^ 


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7 


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ir 


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Hap  -  py        'tis       har  -    vest  tirtie        at  last  I 

Are    theirs    a    -    lone.       so  each       be      -        lievesl 


last! 
lieves  I 


228 

William  Allingliaxn 

J  =100 

p 


Robin  Redbreast 

(Book  Three,p.ll9) 


Fr.  Gernsheim 

CoinpO!ted  for  iIls  Series 


'^'\r  i'f  f  i.U  ii  jij.  ii  I  I 


1.  Good  -  by,   gX)od-by     to  sum    -    mer!    For     sum-raer  s  near- ly  done;  The 


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tfVfi^^i    liJ;J  ^/^JUnJ  J    j  ^ 


i 


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f 


gar- den  smi- ling:        fain   -    tly,  Cool  breez-es      in     the        sun. 


2.  Our 


i 


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in: 


m 


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1^''  f'^f  ri»{J^ijU^^'F  r  'f  'N"r"r^'^|^''^^'^^^'^ 


thrushes  now  are    si-  le  nt.Our  swallows  flown  a  -  way,        But  Rob-in'sherewithcoat  ofbrown,And 


i 


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S 


^ 


^ 


^ 


^ 


^ 


j'ViJJ  f  ^l|.i    '      I     "Hf    -^f  f  ^M 


rud-dy  breast-knot       gay. 


3.  The    scan  -  ty  pears  and     ap    -     pies  Hang 


229 


P''  j:   j'p  r  MP    '  n^Vf  i.'f  f  u'jJ^^j  jM 


rus    - 


set  on     the       bough;  Its.  au  -  tumn,  au  -  tuinn,         au  -  tunin   late/TVLU 


soon   be   win      -     ter,  win-ter      now. 


# 


t>'^  1,1  J  ^nT^^ 


I 


m 


ss 


r  rv  p'r 


be  win  -  tor   now. 


soon  , 


m 


0 


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^ 


J.  j'j^j 


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s^ 


i'-':         <g 


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rrrr 

pp 


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-p-pt 


5 


-«?>- 


-«d- 


Ethel  B.Howard 

Poco  lento  J  =  54 


The  Exiles 

(Book  Three, p.  127) 


Hebrew  Melody 


%^  ^  ^^ ^'  j-'i i' j'^iij  I  p-fT  p  p  p  I  p  p  »^^ r" 


For- ward  and  on-ward, Heavy  with  woe,    Foot-sore  and  wea  -  ry,   Mourn-ing"    we     go 


^ 


^ 


/l^.      i.il    >>'■      i). 


^ 


P  ^''^'■^'I4'jii:i'lj;j'4'ii' 


*•    ^  ft- 


; 


^ 


Far  from  homeland.      Lone  -  ly,  ex-iled  band,  Wan-der   we      on  -  ward, Heart- sick  and  slow. 


j-^g-+! 


E 


I 


^^ 


^ 


230 


Genevieve  Fox 
Pmm  the  Dutch 
J  =69 


The  Sandman 

(Book  Three, p.  128) 


Catharina  van  Rennes 


ji  I  J''  I  ji  ^:  I  -p-^-pi^ 


1.  At      can  -  die -light  I  sof  -  tly  come.When 

2.  And  when   I      find   a         child     a  -  wake.    His 


jlj'j'i'i 


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f 


I 


ea    iq      i 


J' JU'J'v   hii'  tiJ' J'Ir-n  J'  J' 


jN' J'J'^'IfP 


MIPF^- 


^ 


lit  -  tie  stars  are  peeping",     To      see   if  toys  are  laid    a -way  And  wee  folk  are  sleeping, 
eyes  with  sand  I      sprinkle,  Then  tuck    a  dream  in    his  small  hand  ;Hb  sleeps  in     a     twinkle. 


4^  jTJ^Tj 


is  r  -I  .     = 


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s 


a 


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"Chil  -  dren.g'ood        night 


Chil  -  dren,  good         night!' 


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5: 


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whis-per       at  ev   -  'ry  door. 


t^'\      i' 


"Chil   -   dren,   good         night!. 


i '  .1/  .ij'  ^'  I  »M  '  0  W 


^7^ 


231 


(^ 


f     P'r    f 


Chil  -  dren ,  good       night ! 


^ 


^ 


Slum  -  ber         gen  -  Oy         till 


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r 

night    is 


rit . 


rs 


m 


EZ 


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i 


S"- 


^1 


i 


■TT" 


Jean  Sibelius 

Conipoicd  for  Ihls  bcriM 


Richard  Watson  Dixon 

Slowly  J  :^  54 


Autumn  Song" 

(Book  Three,p.l3l) 


The     feath-ers    of       the        wil    -    low   Are        half     of  them  grown    yel  -  low    A 
SiTWothly       ^  , I., I  ,         , 


\in^{-fiii^iH'mm 


m 


bove  the  swell -ing  strecim ;      And    rag:ged    are  the    bush  -  es,  And       rus  -  ty  now   the 


:''''Li''iii.j^ 


E 


^: 


S 


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■J-  -^ 


\>^    4 


k^M-BT      jlj;-^ 


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"F 


1'  1'  'p','^//'M  ^'^^' ;' 


^dgi 


I 


a 


rush-  es,    And  wild   the  clouded  gleam,        And  wild    the  cloud -ed 


gleam' 


232 

Robert  Browning- 
Con  spirito  J  =  120        p 


Pippa's  Song 

(Book  Three,p.l29) 


WiUiam  G.  Hammond 

Composed  for  this  Serin 


s 


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:e 


The  year's       at 


the  spring' 


^ 


Aiid 


,!■'  I   J       J        I     ^ 


t       t 


W 


^ 


The  year's        at  the 


M 


^ 


cresc. 


■&- 


f 


f 


day's      at  the       morn ; 


Mom  -    ing's  at        sev'n; 


^ 


J      J      IJ 


The 


S 


^ 


-9 1^ 


spring' 


And  day's      at         the  morn; 


Mom  -    ing's      at 


mmm 


§m 


ti-§ 


zm 


cresc. 


m 


i 


^^ 


P 


hiU      -      side's         dew- 


pearled  ; 


The 


^ 


^^ 


seVn; 


The 


hill     -      side's         dew       -         pearled ; . 


The 


233 


i 


^m 


lark's 


on  the        wingf ; 


The 


snails 


^^ 


on         the 


# 


^^ 


^2 :*- ;*-_ -»-    -f - ^1 


¥ 


^  iii^  4 


.  4Tl£k 


i 


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rj^ 


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t 


thorn; 


^# 


God: 


in      His       heav'n—  All's 


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rigftt   with      the 
rit. 


^ 


^^ 


i 


m 


m 


iLi  |i  ipi'  n 

rit. 


^ 


^ 


i 


t4i  "^1? 


d    M    it    M    d 


a  tempo 


world! 


i 


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1 


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i 


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-•'      -^     ■*-     -4       ■* 

■*■    *    -m-    ■*■     -« 


-^-^g-^ 


T.  M.  Vol.  in— Ift 


234 


Laura  E.  Richards 

From  In  My  Nursery 

Copyright,  1890,  by  Roberts  Brothers 

Moderate  con  mote   j  =  132 


A  Song  for  Hal 

(Book  Three,p.l3*) 


Daniel  Protheroe 

Composed  fof  tbs  SenM 


^^m 


1.  Once    I 

2.  All    the 

3.  But   just 


saw    a     lit  -    tie  boat,    such    a  pret  -  ty     lit    -  tie   boat,       As    the 

fish  -  es  were    a  -  sleep,    in      their      caves     so    cool    aiid  deep,  When    the 
then    up  jumps  the  sun,      and     the        fish  -  es     ev  -    'ry  one  For  their 


^ 


m 


^ 


i        J        J      1 


^ 


J        J        J       J 


^ 


I'll   J'.  l\,    p  f^ 


h  il  I  J'-  Jl 


s 


mom  -  ing^  ligjit  the   hill      was  a    -      dorn   -   ing-;Quickly      in  -  to    it        I    jumped    and    a  - 
rip  -  pie  round  my  keel  flaished  a  warn  -  ing-.Said  the     min-now  to       the    skate, "We  must 

la    -  zi  -    ness    at    once      fell   a    -    mourn  -  ing-.But  I    stayed    to    hear    no    more,    for     my 


^ 


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f 


J       J         i      J 


r=ff 


=3 


3=* 


S 


^ 


^ 


i 


^ 


^ ' 


g)'"  P'  p  p-  p-^  P   M  f  p  J-  p  ^ 


way  then  I  did  float.  Oh,  so  ve  -  ry,  ve  -  ry  ear  -  ly  in  the  morn 
cer-tain-ly  be  late,  Tho'  I  thoug-ht 'twas  ve  -  ry  ear  -  ly  in  the  mom 
boat  had  reach'd  the  shore,  Oh,    so         ve   -  ry,  ve  -  ry    ear-  ly      in      the       morn 


f^M    i  i 


il    J    i    J 


ing:. 
ing.' 
ing-. 


^m 


D 


M 


fhr^^r^^  -7.''\  r  J  j/ji  J  J  r 


p 


235 

>   . 


And     ev-'ry  lit-tle\*ave  had  its  night-cap    on.     Its  night-cap.wtiite  cap,  night-cap    on;       And 


^^}f-^M= 


v 


^ 


M 0. 


[• ^ 


t 


# (•■ 


^ 


S 


■ g 


rit. 


'  P'prpr  F'P  I  r  r  ■*•  Ji  ^'■■^'p'PF  ■''jji 


jSl. 


i 


ev-'ry  lit -tie  wave  had  its    night-cap  on,       So       ve- ry,  ve-ry  ear-ly  in  the    morn    -    ing. 


W  F    P  -^ 


^m 


nt 


^ 


Ik^^^ 


4^ 


2:e 


t 


T% 


George  Jay  Smith 
.  Moderate  J  =  104 


End  of  Summer 

(Book  Three, p.  132) 


J      J      /,jN|J  =h=M 


Max  Bruch 


m 


m 


^  r  pPT      r  f    p 


Sum-mer    has  de  -  par       -        ted;      Gone        are   all    her     flow     -      ers; 


\^-^Hm\^m¥HmYt^ 


B 


T^^ 


{ 


^ 


J7  ff  7    ff  V 


3S 


^^ 


22 


rtV;i;,^>'l/.,Ul/'    -fMiLlVI,! 


Sum  -  mer,  merry     hear- ted.  With  bright  sun  -   ny    hours,     With  bright  sun    -    ny      hours. 


|J^^|-'gW^phf^iiJgiggJjhj'^j^ii^ 


ft 


'"J      tffli 


'rn^jN.. 


^ 


P 


i 


^   s^ff   ^ 


^^ 


^ 


>36 


C 

dolce 


^    dolce  .        I  >— I  K 


Soon,         ah,    fast lafld 


& 


^^ 


■     7 

Gol  -  den- rod  and    as  -  ter  Fill  the  fields  sere       and   brown; 


Soon,       ah, 


f 


I 


^ 


^ 


^1 


dolce 


if   4 


^ 


3C=ffBr 


I 


P 

=P^ 


gSr 


i 


n 


fas      -     ter     Must    the  leaves  come  down ! 


i^ 


J  St    the  leaves  comi 


^E^ 


Summer, does  your 


^  J  ;ii'i 


fast and       fas     -     ter       Must  the  leaves  come  down! 


E^^ 


Summer, does  your 


^ 


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i 


<g'Si" 


1^ 


f,ir 


»"*-  »■ 


ss 


^ 


^^ 


^ 


^ 


fe^^ 


n 


r  'p  >'  f  V    Cf'f 'f  " ^ 

ing- Yield  but  leaves  that  mold?     Nay,  see       o  -    ver  -  flow- ing- Harvests  heap their 


) 


M 


w 


k 


'MM  M  '  I  r'f    'r    r-V 


See 


o  -  ver  -  flow  -  ing^  Harvests    heap . 

m 


their  gold! 


Frank  Walcott  Hutt 
March-like  J  =  126 


October  Song 

(Book  Three.p.  149) 


1.  A      song',  a    song-  of    nut- ting' time  And  the  brisk   Oc  -  to   -  ber 

2 .  A      song-,  a    song-  of    nut-ting-  days  And  the    fall  skii'S    o   -  ver 

3.  A      song,  a     song-  of   nut-ting  paths  And  the  quest  that  lures  us 


^m 


^m 


^ 


237 


Rudolph  Ganz 

Composed  for  this  Sents 

A 


day ; 
head; 
on; 


The 
The 
And, 


^^ 


y*f^ 


^m 


i 


F-  Jm   i 


^ 


S 


D 


i 


r  ^'  F  '  r 


^ 


M 


i 


pas-ture  romp  and  the      hill  -  top  climb,  And  the      a  -  com-sprin- kled —      way.  A 

bannered  leaves  and  the      marshalled  haze^Vheie  the    autumn   tents    are spread.       A 

oh,    the  thrill  that  the     boy  heart  hath  On    the    first  Oc  -  to  -   ber dawn.       Then, 


^     1       i        J       M 


^^ 


1 


^ 


IB 


-I 


^ 


ft* 


^  ti  i 


ii 


m 


T 


m 


s 


^^ 


^ 


f 


song-,   I     say,  And    a      roun  -  de  -  lay  For  the      jol-ly       nut -ting     time; 

wood-land  glee 'Neath  an     old    oak  tree  For  the    sake  of       nut  -  ting     time; 

free    and  far  "Where  the     a  -  corns  are.Downthe  rare   old     nut  -  ting      path; 


^H 


t 


A 
A 

Then, 


^ 


% 


1 


is^ 


F 


'.>-«<  f— f 


^ 


» — ^ 


^ 


s 


p     p 


^ 


=P=f 


il 


^^ 


■     ■ 


song;,     I      say.    And  a        roun -de -lay  For  the        jol  -  ly        nut  -  ting-  time, 

woodland  glee  'Neath  an       old    oak  tree,  For  the        sake    of       nut  -  ting  time 

free     and  far  Where  the       a- corns   are, Down  the      rare     old      nut  -  ting  path 


^ 


^m 


E^ 


i 


f 


^ 


-fJ^ 


M 


4= 


T 


298 


Flowery  Omens 

(Book  Three, p.  137) 


Andantino    J  •  =  50 


Anton  EWof^ 


M=rt 


P 


I  I     1 


!^ 


) 
( 


wish  -   es      plant;  "Watch   wheth-er     Heav'n        ful      -     fill-   ment  grant. 


J'"i   j  i    i 


^  .j'  j  i 


pp 


"f  f  'f    I 


^^ 


f'j  I  I  I    M  '    'J 


^S5E 


E 


When    I         a       gol    -    deD  tu    -    lip       spy, 


) 


^^ 


MM   f 


Then  shall    I      know         that 

J ^ 


^tt 


^^ 


grief is        nigt- 


And     if       a      white      rose         o   -    pens   sweet, 


339 


Come    111     the    twi     -      light         me  to        greet . 


^ 


f 


Bloom -eth     a       vio     -    let 


\ 


on        my      way, 


Bloom -eth     a        vie      .       let        on  my    way, 


^ 


dim. 


i 


^ 


p/>- 


•     f 


^eS 


^^ 


Then      I        shall      see       thee       ev   -    'ry     day, 


Then    I       shall    see . 


V 


^^ 


J  tl 


^ 


gj  M 


/^ 


r   "r  [    r 


li+O 


The  Sea  Princess 

(Book  Three,p.i;}8) 


Andante  con  moto  J?=  144 


Max  Bruch 

Composed  (or  Ihji  Series 


|M^j-lj■  ij  p  j-i  J.   j"^'i^ 


^ 


zM=^, 


pal  -    ace   of     pearl        and        sea 
But    be    -    low,      m    the     qui     -       et         wa 


weed,    Set      round      with     shin    -    ing- 
ters.  She        bet    -    ter      loves      to 


* 


m 


J     ;  rn 


i 


W 


^ 


fr^ 


^ 


T 


^ 


JL 


^ 


■V     P  I  ^ 


^ 


CTFSC. 


,,  J,  J  ti  I  j- ;^^ 


=F=^ 


Un  -   fler  tin 


shells, 

play.  - 


Jn  -   der  the   deeps    of      the 
Mak-  ing-   a       gay  sea  -  weed 


o 
gar 


ceain         The 
den,        AU 


!'"i^i  I 


j    j  i  j  < 


j-j'  j  j' 


cresc. 


S 


^  ^    £/  ^'  U^ 


^ 


^ 


li  cresc . 


lit    -    tie     sea  prin  -  cess 
green     and    pur- pie       and 


dwells 
gray; 


And      when    thro'  the   waves       she 
Or        string- ing  with,  pearls      a 


O  I   'M  n 


ris 
neck 


es,  Be    -     yond        the    break  -   ers*         roar,- 

lace,        Or  learn  -    ing    cu      -      rious 


24.1 


hears    the  shouts  of   the  chil 


dren         At        play      on  the    san       -       dy 


cresc . 


'U:,— ,-J^ 


»— T-h 


poco    rit. 


m 


i-j  f  f'—f 


shofe, 


At  play         on     the  san    -     dy  shore! 


^ 


r> 


j,^r  r->-''f  ;f 


^ 


¥ 


E 


feE? 


cresc. 


^^: 


^ 


^oco  r/^ 


r 


j^    ^7 


^i 


^ 


^ 


5P 


^^fff 


JJ'J^IJ' 


a 


spells  From  the     wa-ter  witch.g^ray  and     an  -  cient,  And   hear  -  ing  the  tales      she 


teUs, 


And  hear    -     ing-  the         tales        she  tells. , 


t 


rs 

^ 


242 


Elsie  Cobb 

Allegretto  con  senlimento  J.^  66 


Summers  Good-by 

(Book  Three, p.  139) 


Reg^inaJd  de  Koven 

Conpoird  for  this  Series 


1 .  The  west 

2 .  The  rob 

3.  Jhe  chil 


7y 


wind     is       cry  -  ing;,  "A   - 
ins      axe     sLiig-  Lng-,  "Good- 
dren    are     call  -  Lng-,  "Hur  - 


m 


i^i  m 


^^ 


my 


^ 


i 


i 


TW^ 


i 


cresc. 


f— J  f  '^  I  r^  ^'  1 1'  ^'  I  ^' 


^ 


i 


way,  a  -  ■w'ayl"  The 
by,  gDod  -  by !  Too 
rah,      Jiur  -   rah!"      The 


south  wind  is  sigfe  -  ing",  "Oh 
long:  we've  been  swing;-  ing-,  we 
nuts    now    are    fall  -  ingf,     a 


^ 


cresc. 


stay,  oh  stay!"  But 
fly,  we  fly!"  O'er 
far,        a    -    far!      The     ' 


E 


^^ 


3 


fi    ri-i 


f 


H  iz 


^ 


^ 


55=T 


cresc. 


^ 


i 


i 


* 


J!f 


a         i: 


« » 


sura  -  mer  is  flee 

hill  and  o'er  mea 

mea    -  dows  are  still 
accil 


f\  u      accd  ^. 

ru"   j^   J'   i 


tingf,      and  au    -    tumn      is  gree   -  ting-     The 

dow,      thro'  sun   -    shine      and        shad  -    ow,       They 

ing:,       the  as     -      ter  is  fill    -    ing:        The 


^ 


E 


:« 


J'      J'     J'     I 


<  accel . 


^ 


24:} 


rail,   e    dim 


Tempo  I 


world  wTth    her    baui-ners     so  ^v. 

wing"    to       the  w-arra  southern  sky. 

earth  with    her   fair    pur -pie  star. 

raU.  e    dim.  ^ 


The  south   wind    is      sigh  -  inf,  "Oh 

"Too  long  we've  been  swiug-mg',  wr 

The  nuts    now    are     fall  -  ine'    a 

■'^-       -     ■ — ^ 


^ 


^ 


v^ 


rail,  e,     dim . 


jr 


sa: 


r^i'  r 


I 


m 


4 


a  tempo 


fit. 


•Bi^J 


^ 


5  ^^ 


♦ 

rail. 


^ 


f^ 


f 


i 


ft: 


stay,  oh  stay!"  The 

ny,  we  fly!"         Th,- 

far,  a      -      far!  The 


west 

rob 

chil 
ran. 


wind        is  cry   -     tng, 

Lns  aie        sing   -     ing, 

dren       are        call    -    ing, 


"A 

'Good 

"Hur 


^ 


J'     i      J' 


^  '   77/. 


^ 


=:=SP 


^^ 


g^Fj-i ^ 


s 


f^ 


rit. 


"if 


rail. 


^ 


^ 


f 


sk 

fe 


i 


'r  '  f 

way.      a    -    way!" 
by,       good  -  by  '" 
rah,      hur  -  rah'" 

P r> 


^ 


"J  (^J     J'  J 


^ 


) 


^ 


^^=^ 


? 


^ 


,rair    mo/<o 


=:^ 


24  + 

Robert  Louis  Stevenson 

With  animation    #•  =  88 


The  Wind 

(BookThree.p.  14-4) 


Victor  Herbert 

Compused  for  Ihis  Scrm 


i 


^ 


^ 


E 


^ 


fe 


■       d 


£ 


W 


saw    you  toss     the      kites       on    high       And     blow  the  birds    a     -   bout     the  sky  ;      And 
you,  that   are      so      strong  and  cold!       O       blow-er,    are    you    young'  or    old?      Are 


*= 


m 


^ 


m 


t 


E 


^t^^ 


'       4 


"F^^T" 


l^i=:^ 


^^ 


f!  i'y  i' 


^ 


P 


^=^ 


I'  f  rr  pir  p  ^  '^'1^  ^'^^'ir  ^' J  J'lr^F  fi'r 


an     around  1     he^lrd  you  pass, Like    la-dies' skirts    a  -  cross   the  grass;  O  wind,    a-blowing 
you    abeast  of     fieldandtree    Or      just  a   stron-ger  child  thcin  me?     O  wind,    a-blowing- 


^^^^4^ 


r^4-^ 


fe 


m 


i 


^-fci 


M-^ 


<zia: 


? 


-0 » — JT 


-* — r 


^ 


^ * 


^ 


^^ 


^^ 


m      m 


^^ 


#4=^^ 


p  ^   ^i  I    F  CJ 


Vd  1|  J  I    *    ijJW 


all    daylong'!  0  wind , that  sing's    so      loud      a    song!    humming. 


.That 


245 


.  a  tempo 


^ 


^^^^ 


I'J     J' I  J     ; 


m         m 


m        a 


^  , r ■ , r 

2.  I         saw      the  dif-fer- ent    thing:s  you  did,    But     al-ways   you    your-  self    you  hjd  .     I 


j^  ^iriU 


^^* 


m 


^ 


m 


7 — a      J     t: 


^=^ 


( 


a  tempo 


P    t.    # 


^n"~T 


» t. 


CULU 


^^ 


^K"  J    .|J    ||J    ^ 


/>ofo   r;Y. 


r\ 


^=^ 


a 


T=f; 


P 


d  •     d 


wind,     a  -    blow-  ing-     all        day  loiig! That     sing's       so    loud        a 


DSallhie 


24.K 


Wiiliam  Brigtity  Rands 
f   Moderate    J  -  138 


The  Lavender  Beds 

(Book  Three.p.US) 


Frank  van  der  Stockerj 

Composed  for  tbts    Series 


te 


f 


i     I    J      II:    ,1     J    J     I    J    J 


■    W   » 


Moderate 


1      The  fair-  ies  stepped      out    of     the  lav-  en  .   der 

watched  them  g^o       through  with  a  grave  nun  -  u     - 


^ 


m 


m 


m 


i 


E^E 


E  ^ 


E^ 


E^ 


y-jut 


■>''iJ  r  i 


I 


i 


i 


i 


G 


B 


;-  ^  J  I  J  J 


^ 


* — ' — *■ 


beds., 
et  ;  _ 


I 


With      mob-caps    ot           wig's     on    their       quajnt    Lit    -     tie         heads ,_         My 
Wher   -    ev  -  er     they         foot-  ed     the  dew     was       not        wet. They 


:e 


\ 


^ 


^ 


^ 


JS5E 


IS  ■'•H 


^ 


^3^^ 


i 


i 


f 


^*=i 


rrr 


^^ 


lord  had    a         sr«'ord  ajid    ray        la  -  dy     a  fan, 

bowed  and  they       curtsied,    the    brave  and    the        fajr. 


The         mu  -  sic  struck  up  and    the 
And        laughter  like 


L^Sli^ 


i 


^ 


p 


^ 


^^ 


X 


* 


t-l  i  J 


i 


^ 


i 


i^ 


^ 


dajic  -  ing      be    -  gaji 


chir-ping    of         eric  -  kets    was         there. _     Then 


247 


I  j  J  J  J  I  ^J'  >m 


'  h  "t  y    h 


aJl        on       a  sud-den  a  church        clock    struck  loud. 


^^ 


^  j^   rJ 


^ 


^ 


""0 r — 

flut  -  ter, 


a  shiv-  er,  was  seen      in  the       crowd The 


# 


Jli^  ^     g 


^& 


iJ   ^  J     » 


U"     t 


P 


^ 


^   ^j  .J 


J    ^Tj: 


i 


^ 


^ 


^ 


^s 


^E^ 


cock      crew.  the  wind     woke  the     trees  tossed  their  heads, And   the 


m 


H 


^M 


^ 


248 


Harvest  Slumber  Song 

(Book  Three, p. U7) 


William  Wilfred  Campbell 
Andantino  J  =  63 

z 


fe 


E.  Humperdinck 

Cotrpo^rd  (or  ibii  ^erlet 


r     r  t 


r    If    ^ 


?^ 


1.  Sleep, 

2.  Soft 

3.  Sleep, 


lit  -  tie 
in  the 
lit  -  tie 


Ba 

lap 
Ba 


by, 
of 

by. 


sleep. 
Moth 
sleep, 


sleep, 

er 

sleep, 


^^ 


sleep . . 

Nig-ht . 
sleep.  . 


«!2= 


f 


-mrr 


r 


f'^''  r     p  M  r     J'  J'  1^     r    '  r^^P^ 


Red 
Wee 
Red 


is      the 
ba  -  by 

is      the 


moon 

stars, 

moon 


in      the 
all     a 
in      the 


night's        still 
g-Iow  and 

night's        still 


deep  ;  _ 
bright, 
deep ;  _ 


) 


I 


l'"v^  '        p 


White  are    the        stars         with    their      sil       -       ver 

Flut     -      ter     their     sil       -       ver  -  y  wings         and 

Wee  ba  -  by        stars  all     are        hushed        and 


wings  _ 
crow  — 
kissed,- 


24S 


Vol      -    ded  in    dream    -   ing^s  of     boau    -    ti  -  ful      thijig-s;  And      o      -      wr  their 

Gen    -     tly    to     breez    -     es    that    kiss         as    they   blow, A   -     round      air  -  y 

Fbl     -     ded  in        era    -     dies  of      In  mi  -  nous    mist ;  If         ev    .      er    tkey 


^ 


^^ 


?    P 


^ 


^ 


era    -     dk"    the      nig'ht       wind         sing's; 
era    -    dies  that    siA'ing      so  low, 

wa      -  ken    the      winds        cry,        "Whist!" 


Sleep,  lit  -  tie  Ba  -  by, 
Sleep,  lit  -  tie  Ba  -  by, 
Sleep,      lit  -  tie       Ba     -      by, 


^ 


r   F-Jr    ^M[j[^ 


^ 


1 — 

bleep,  sleep.       s.leep;  Sleep,    ht-tle      Ba    -   by, —    sleep. 


sleep.    


Fa^=^ 


^ 


^ 


g=^=? 


♦-V 


«^-# 


^p 


i^ 


i 


cresc. 


dim . 


m 


± 


^ 


w—f- 


W 


T 


S#^ 


sleep! 


'/'jJ^l"^ 


O 

<#*- 


I 


^ 


^ 


PP 


3: 


—6 


M    Vol.  Ill— 17 


250 


What  1  Love 

(Book  Three, p. 148) 


Con moto  s'^  133  j^ 


Hug^o  Kaun 


The    dai  -  sies  white  are       dear  to      me ; 


;^^ 


^ 


^ 


^ 


T~^ 


^^ 


^ 


7       7 


•/       V 


/        / 


3 


m 


^f^^ 


^^ 


but  ter-fly 


And  the     blue 


^ 


^ 


^ 


of  the  brooks      aiid    skies 


« 


^ 


^ 


^ 


^^ 


^ 


^j       7       7 


JJ^ 


V 


7       7 


7       7 


lf=^ 


f 


"7 — : 


251 


fe 


^f 


^^m 


^ 


wall. 


I         say,        "O     rose.         O      dear        lit -tic     njsp,         I 


li 


^S^ 


^•"JJJj^^ 


* 


^ 


m 


^ 


7J     '^ 


y 


^^^# 


i 


^^^^ 


i 


''     f     7 


7       7 


^^=^ 


^  / 


ti 


I 


4: 


S 


i^X 


^ 


mm       ';    ■    i=g 


) 


love        you      best         of       all!" 


I       say,      "O        rose,         O 


i 


/■- 


m 


m 


^m 


dear        lit- tie      rose,  I  love 


you 


best 


of 


) 


i 


m 


^B 


I 


5=:^ 


6^ 


2 


r 


^ 


1 


7      7 


^ 


^ 


S 


I 


^^=F 


^ 


aU. 


K 


i 


^ 


P 


f 
^ 


^^ 


^^ 


h  «; 


^==^F 


i 


^#i= 


PP 


^ 


f 


^^^  Morning 

John  Fletcher  ^''^""^  Three.p.lSO) 

Lightly  with  motion   »>=  Mi 


Arthur  Farweli 

Cooipcrsed  for  ihis  Scrips 


^^^ 


^^ 


) 


See    the  day  be    -    gins      to    break,         And    the   light  shoots    like a  streak      Of 


^^^J'J  j,l;      J,jjjl  J     J   J    j,  Ij       J,JJ  J, 


"''i^^^'^  }^nni  1/  in  j 


sub      -      tie      fire;     The 


m 


■winds         blow  cold,  While  the     morn  -   ing- 

5 


i      JW    j  '  J       j'  J.     '  i      i'  J    j' 


m 


^w 


s 


9=g= 


P 


i: 


^^ 


J—JL 


!^ 


i. 


^^ 


a 


'■j^'r-^ST^ 


f  U  M  ^  '  I'' 


3=* 


P  r  r  r  I  r 


T 


i 


doth  un   -  fold  . 


Now- 

5      ^ 


the     birds         be     .      i^in  to     rouse, 


f 


f 


^ 


g 


-» — ^" 


238 


V 


m 


And         the  squir-rel     fro/n       ihe   boughs Leaps  to     get       his     nuts    and  fruit.  The 


ritard 


ni 


r  *'  r  i '  ^M^ 


?      m/' 


a  tempo 


•JT"]  i^ 


fe 


^ 


7~ 

ols     to 


ear   -    Iv     lark,      that 


erst        was      mute, 
ntard 


% 


\s  I    J     ^J'~T 


Car 


the 


s 


^ 


^   '  J     i^ 


f 


^ 


r  f  ^n 


^ 


:S 


i 


se 


i 


r/Yci  rd 


a  tempo 


i 


J    ;» 


f 


ritard 


^^^^m 


a  tempo 


a^ 


^ 


»N=^ 


rit. 


r-F  Tp'p  r'^'p-^Xc^ 


r 


^ 


ri        -       sing     day. 
rita  rd 


H^  J  J'  J 


Ma  -  ny      a       note 
a  tempo 


and        ma  -    ny     a 
rit. 


lay. 


i  i'  J'  i        J'  '  ^^ 


;54. 


Kate  Greenaway 
Rather  slow   J  =  92 


Beneath  the  Lihes 

(Book  Three, p.  152) 


*  Mainersi, 


Horatio  Parker 


T~r-^ 


s 


i 


^m 


Be  -  neaUi     the 


^^ 


^ 


•/ 1  ■,  i 


^ 


^-»f-f!-S 


r   J  tj'  n^-^ 


a 


^^ 


li     -     lies,    taJJ  ,w^ite  gar-deii  li    -    lies,  The  Prin    -     cesssltpi,  a    chanmd 


^ 


J=^ 


P 


m 


J  "  ^ 


<*  J- 


^T 


:i=J 


1 


^ 


"O" 


I 


;;  p-  ^f  I  f-:"^*^'  "^  p  ^'  I  {(J    ^ 


sleep       al  -   way;  For  -  ev  -  er  were     the     fair-y  blue-bells         ring-  -  ing;, 


For 


) 


i 


i  A-J   I  !|j^    j^jj  J   J 


m 


i 


•r  ,.    ^ 


J     ^  'i    t 


f 


^^ 


^ 


"T3~ 


I 


^ 


:?  M  ^^  p 


r  p  p  ^^  '  ^'^ 


ev-  er      thro'  the   nig-ht 


and  thro' the     day.      Ere  -  long-        a  FViiice  came  ri- ding- 


^^ 


fe: 


il  ^.    i    LI     IJ 


^ 


=^=^ 


p 


^ 


255 


^ 


^m 


^  r    ^ 


ji  1'  j'l  J 


^ 


the    sun-  shine;  A        wind     just      swayed      the 


35^> L- 


^ 


-jj'J^^ri 


li  -  lies    to    ajid    fro  ;        Hi 


rjT}  i  .^i 


^ 


^ 


^ 


i 


^ 


y  r  •  p  F  ''  P  [g 


^ 


P 


woke    the  Prin- cess,  the'  the        blue-bell     mu  -   sic  Kept    ring--ing;-,  ring--ing-, 


J'    J       J       J      ^ 


^ 


^ 


P 


T 


=EC 


f 


"TJ- 


^^ 


l>'  ^  ^     J^-  i^J    M 


^ 


sleep  -  i  -    ly, 


sleep  -  i  -  ly,     sleep  -  i  -  ly 


and        low. 


'        n,i 


^ 


f 


rjj  ijj 


^ 


351 


I    J  J 


^^eH 


-»- 


low, 


low, . 


low, 


i^ 


^ 


j^j  j'j  j 


^^^^=£??% 


»^ 


rfm. 


/^P 


^^ 


^ 


:n= 


256 

James  Russell  Lowell 
Andante  J^=  152 


The  Fountain 

(Book  Three,p.l54-) 


HugD  Kaun 

Cempoied  i»r  Ibit  Strin 


^ 


II'  ^  i'i  t  ^    m^ 


w 


1.  In    -     -to  the  sun  -  shine, 

2.  In    -     to  the  star-ligbt, 


s: 


FuU    of     the    light, - 
Rush-ing    in     spray. 


\l'  i  ,ij  nJii  .Nj^  jiY  n^7 


Leap  -  ing' and  flash-ing'  From  morning-    till     night! 
Hap  -  py  at     mid- night.  And  hap-py     by     day' — 


In    -     to  the  moon-light, 
Glad      of  all  -weathers, 


E 


i^=r=j 


<  f  f 


t    i;p  H^    f.  ^ 


-Ir^ 


-^E 


A i *- 


J         * 


-0 # 


■      m 


i 


J:  I   j':       j'j'     J'    J  11     J'    J'     ^'     ^ 


_    i 


Whi  -  ter  than  snow, 
Still  seem-ing    best ; 


Wav  -   ing  so  flow'r-like,  Wav  -  Lng    so  flow'r-like, 

Up  -  ward  or  down  -  Wcird,  Up  -ward    or  down  -  ward , 


( 


f>  r  'I'll,  li^ 


^'    r    '"J^r'r 


^^ 


aJ^;'  ^'  J      i 


When         the    winds 
Mo      .      tion   thv 


3.  Full       of  a      na  -  ture 


1^ 


^ 


--zzSi 


^ 


»  0  0 


^ 


257 


^ 


*■     * 


-h — V 


"^r»f- 


m^ 


■dl^M-i 


^m 


Noth  -  ing-    can    time, Chang-ed  ev    -  ryrao-menf,  Ev  -  er    the     same; 


=#=*= 


^— <  ' 


^^4 


-J— r 


i 


4^=^ 


J  nj'    i:     j'J'    ^ 


i  ti  J      I  *       i 


I  '       g 


Glo   -    ri-ous    foun-taiu!  Let  my     heart  be     Fresh.changeful.con -stant, 


f    n    $ 


^$=$ 


u. 


I 


uUu 


^M 


a      a     ^mz 


0       d      d    id      d      d- 


:*= 


I'     I'     i:       ii     i 


b 


S,       K 


i 


^ 


|:      t 


-rr 


Fresh.chaiigrful.con- stant  Up 


w.ird    like      thee,- 


^H 


C    C    C    C  iS3g 


» F 


^ 


-# •- 


rrb'j  J 


258 


Lullaby 

(Book  Threp,p.l56) 


Frank  Dempster  Sherman 
Andantino   J^=  160 


Charles  Villiers  Stanford 

Composed  for  thu  Srrin 


t 


II-  f         *f 


f^^    %  i  P     ^1 


IT 


) 


I 


1.  Slum  -  ber,  slum -ber,  lit  -  tie  one,  noy.-;   The  bird     is  a-s!eep  in  his  nest   onthe  bough;    The 

2.  Slum  -  ber,  slum- ber,  lit  -  tie  one;  soon    The  fair-  y  will  come  in  the  ship   of  the  moon;     The 


¥ 


t^-* 


*  •  • 


^ 


^ 


S 


F-.    J-'J'^   r 


^ 


rf=^^ 


r^ 


t 


h=k 


i^  h  h 


^ 


^ 


a-=5 


a±=ft 


%'      ^-     Ji'l 


4^ 


^ 


*   i   '  *■    d 


bird    is  a-sleep,he  has    fol-ded  his  wings 
fair  -  y  will  come  with  the  pearls  and  the  stars,. 


And      o  -  ver  him  sof-  tly    the 
And  dreams  will  come  singing  thro' 


ffs ''  i^ 


^TJTT^ 


•?^l!  P  -.       i^    J't    ^: 


i 


^ 


±±: 


zac 


i;'.Nj.jJ  fjif  ^^ 


i^l 


i 


^^^ 


drf-am  fair-y   sings  : 
shad-ow-y    b2Lrb :  _ 


Lul-la  -by! 
Lul-Ia-by  ! 


lul-la-by' 
lul-la -by! 


lul-la-by' 
!ul-la-by! 


i 


269 


i 


Peairls     in  the  deop,        Stars     in  the  sky,  Drnamh in    our    sleep; 


^ 


m 


■y-rj-      ff  J^'f 


^^ 


J     I'ff  J^P 


i 


•  CIT ''  W 


,^=i> 


*  r 


^«lP 


f    ^  f  'yrr'g'i'r     I' 1 1  gf-r-^«^^ 


'{;  Slum    -     bf-r.  slum    -    ber,        lit     -    tie  one,  so; 


The     stars     are  the  pearls  that  the 


^ 


^ 


^ 


rs — c 


^ 


^ 


'iT 


( 


PP 


^^ 


.Cr.f  ^ 


dicam   fairies  know  ;    The    stars  are  the  pearls  and  the  bird    in  the    nest, 


260 


P'  iJVi\ni]zi:  nr  I'  ^ 


dear    lit- tie  fellow,  the     fairies   love  best. 


Lul-la-by! 


lul-la-by! 


^ 


y  ij  J 


^^ 


^^ 


^^ 


9*= 


i 


^ 


^^ 


^^ 


^^^ 


-V— t^ 


lul-la-by! 


Pearls    in  the   deep,  Stars    in  the  sky, 


r  ji  u- 


i^ '  Q 


i 


^^ 


fe* 


± 


m 


1 


4.       J 


^^ 


Dreams in     our     sleep; 


So  lul    -   la-lul    -   la  -  lul    -    la-lul   -    la- 


j'  -  G "  n 


^ 


i 


i 


^ 


'.^]' jjji 


) 


^^ 


lul    -    la  -lul    -    la  -by! 


May  Moi^gcin 

J-=    fiO 


Dragon  Flies 

( Book  Three.p.  153) 


261 


Peter  Christian  Lutkin 

Compo^d  for  this  Scrks 


iJAii'i^i^  j',,',j'-  ^1,1,^  z;^^  h  j  i'  i^m 


■>\\\i  M  j^  -j 


bovp        the     brook       the         dra    -   j^on  flies.     With   uiiij^.      a-  quiv-er,  

# . 0 


^^ 


^ 


^    'y    \ 


^ 


E 


i 


^ 


^ 


;^V-HW 


^ 


SJ^ 


^ 


^ 


play  : 


A  mo     -     merit      here,         a 


mo   -    ment   there,      Thoy 


^ 


^ 


^=^ 


*,       -f 


^ 


V  -  •? 


^ 


P 


1^ 


E 


zsSriz 


pause, 


and  then  a     -     ■*'nv 


As  blue  as     steel        their 


^I'l.      J'    ^      V 


J^'     ';        */       f^       \       ^ 


#         4. 


^piS 


=^=^ 


^ 


^ 


J.    ■   >  J 


f  I'  !■    'T  '  r'  —  I 


S 


r^  F  r 


^ 


g^au     -      zy   -wnng-s,        As         swift         as  thoug-ht       their        fligiit ; 


Now 


^    ^    ri    7^ 


e 


^^ 


7      7 


^-''S',J' ^  j\^ J  ^  i\,;hii'^ 


i 


PI 


I     i 


F=r 


here,     now    there,  then      who  knows  where?  They  dart    likeg-lecims  of  ligti' ■ 


3E 


^ 


1-'    'V    •/ 


'/    I'    •? 


0     c 


^ 


^m 


262 


Margciret  Aliona  Dole 
Andante  J  =  60 
^^'>ys  dolce 


The  Southland 

(Eonk  Three,?.  158) 


W.  A. Mozart 
Duet/mm.  Don  Juan 


f»-;5;J'^'JM;,J  ';iJ'.  JiJi' 


j''  Jii'J^  J' 


Down  by  the  South  Sea    is  -  lands  The  winds  blowwarm  all   day;  There     in  the  sparkling- 


waters  The    fly-ing  fish-es        play.       Oft  of  the  South  Ira  dreaming;!     rock  in  a  pearl-lined 


»«  JU  Jit 


^^^ 


dim. 


boat;  Over  the  ripples  gleaming-.Like  mermaid  there  I float, —  Like  mermaid  gen-tly 


2'>3 


Girls 


^^^^^^^^^^^^^m 


Swift  o'er  the  clear  shiuiili;^      wa   -  ters,     Swift   to  li.o  Soulh     Irt    us        flylTo  the  bnuth  let    us 


i 


S 


^m 


^ 


^ 


r 


"^' 


^^ 


^ 


^^ 


Gr/rfs     cresc 


Girls 


i 


fly !  To  the  South     let   us      fly! To  find  the     is      -      lands!     Greeii.bluc.and silver  waters.    Oh, 

^    I  \  I    rn^ — ^ 


^^ 


S^ 


S 


s 


te^ 


^^ 


ii     S 


TT 


cresc. 


5/' 


^ 


^ 


fe=;=^ 


:^=E=ii:ri: 


i^^ 


t-  ^"       1 


^^ 


^    ^  F  f'    ^  ^  '  ^ 


Come,  let   us  fol  -  low   a        star' 


n  I  M-^;  'I' 


^1 


To  the    South  -  land    a    -    far! 


) 


264. 


Kate  Louise  Brown 

Con  moto  ed  animato  4  =  Ti 
P 


Jack  Frost 

(Book  Three, p.  162) 


H.  Clough-Leighter 


i 


•"•"ii^^^i^  1^ 


^U     ■'  p  'P  f  P  FT'   F  p' 


-c — e^ 


Now  who  comes  steal uig-    thro'     the  nig^t,With  ti  -   ay    fin -grrs  cold  and  light ;     Who 


pin  -  ches  flow-ers      on     the     sly,  And  makes  the  tre;nbling-  gras  -  si-s   die? 


Allegro  scherzando  J=92 


ivvno^N'^rubp^O  '?'gj 


r  P'»r   p 

it        is   Jack, the  Fros- ty  Elf,  Who  smiles     so  sly  -  ly      to     himself,  And      says.  Ill  have     a 


^^ 


m 


i 


^i 


^fe 


m^4u 


■'''if    ■   P 


./• 


i 


P 


gH      •/ 


^-f^ 


J  D  t  'tA 


r'-J   .\  J 


Fhie 


lot       of     fun; My  work,  my  work  Is        just       be-gun! 


Who  is    it,  in         (ho    mid  nig-ht  hush.Makes  alljht'    maple     fin-gere  blush?  UTio 


i- 


clothes  the  brook  in        i    -    cy     mail,  Aiid   powdrrs      o   -  ver    fence    and      rail?       .-      „        Oh 

'  '^ -.         i>iu  rail. 

^  ' o        ^- 


m 


p 


i 


^^ 


Ai- 


^ 


F 


22z: 


Id 


-.Nlj    JIl 


<j 


^ 


d.f5^ 


tf 


r^ 


i* 


in/ 


f 


S 


^ 


fT 


A  Morning  Song 

(Book  Three,p.l69) 


Anna  M .  Pratt 

Andante  J  =  112 
1—^ 


Ermanno   Wolf- Ferrari 


i 


i 


i 


r^^ 


r  :  W  i^     ^ 


=%: 


f= 


r 


1.  When      stars         are       mel    -   ting-       in  the      sky,         Be  -  fore  the       ro       -      sy 

.     2.  When     wa    -     king-    birds       2ire        on         the     wing,     And     mat    -      in       songs        re 


M 


^m 


W 


-m—zx 


tP- 


ggjg 


IeI 


^- 


^ 


^^ 


1= 


w 


C\ 


^^ 


J  I  J  'J 


^ 


f     r  '  r     r  '^^ 


When       myr    -      iad      spjirk    -     ling      dew 
Till      woods       and      fields         and       up 


drops         lie       Like 
lands        ring   With 


=fe=^ 


za: 


t 


3 


T= 


i 


^ 


^g^=F 


T.  M.  Vol.  Ill     '.< 


26€ 


^ 


r 


"Ff 


b 


"r  V''^  V  r  i- 


^ 


diamonds      on       the      lawn; When     flee  -  cj  clouds        go      f loa  -  ting-        by,     And 

car-   ols   clear     and     sweet;  Wlien     all       the      op   -    'ning-    blos-soms      fling  Their 


^ 


i: 


1ft 


^ 


i 


m 


m 


1^ 


i 


i^m 


^ 


E^ 


P 


^=i 


? 


J  J I  J  J I  i 


^ 


j= 


^ 


^^ 


^-=r=r=f 


T 


rr 


gol  -  den        glo  -  ries       wear, 
fra-grance        on      the  air, 


0 


Then,         oh.        my    gfirl,    and      hey, 
Then,         oh,        my    boy,     and      hey. 


my    girl,    The 
my     boy,    The 


i 


¥ 


m 


^ 


3 


H 


m 


(JL * 


-^ 


~s- 


m 


-I 


3E 


^ 


m 


i.^ 


* 


iEEi 


E 


^^ 


^^ 


and      hey, 

and       hey, 


ear 
ear 


ly      mom 
ly      morn 


IS 

is 


fair! 
fair! 


Then, 
Then, 


oh ,  ray       girl 

oh ,  my       boy. 


my 
my 


1 


%^ 


£_^: 


.'i     ad 


^ 


^ 


s/i 


'.an 


M 


S; 


i 


* 


^ 


m 


W 


?^ 


girl,    The        ear    -    ly       mom 
boy,     The        ear    -     ly       morn 


Seymour  Barnard 
From  the  French 

Allegro  J=  104 


The  Boys'  Song 

(Book  Three.p.l6+) 


267 
Georgies  Biz^^t 


^ 


3L. 


^^=^ 


C     J^    d'    fj 


^ 


Chests  thrown  for  -ward, 


'■'Uftr 


^^% 


^ 


^m 


\ 


/ 


'^\\  L  y 


|=g^ 


I 


I 


y 


I 


^ 


^  >i  1' 


^  up  tp  J',  ^H-fh  J'  J'  M  lip  \p  J'-^t      f>  p  I  P  tf^^^-JH 


Eyes  to    ngfht;        Peaceward.warward, March  in  might;      Stout,    stur-dy,  Steady  we  comp; 


) 


^^ 


^ 


^ 


^^ 


^^       ^  t^ 


t 


^ 


I 


■ 


^3 


^^ 


^ 


J  J^  n  I  nrlr^ 


^ 


^ 


^^m 


!^^^? 


^2 


Ra  -  ta.Lhe  trumpet,B-r-r-unithednim!Heads  e  -  rec  -  tly;  Arras  held  down  ;       Now  cor-rec  -tly 


'S''  \^i'  ^'  I 


^ 


W 


W 


/ 


^ 


^ 


^^^  ^      Jt  ^ 


•j^  <|p  fap  J'-  7-r-'fT     P  p^-HM^p-  ?i  J'^  p"?'  I  ^ 


Thro' the   town.  Guide    rigiit.here!  Look  to  the  line!  Hie!      soldiers.TTiat  was  fine! 


268 


B!> 


li:::^'jiji  'ujj  -i  >I'  '■><!' >■•  ■ 


I 


^ 


Now  o-blique-ly,  Now   to     rear ;         How  the  weak-ly  Stum-ble  here!  Fours,      right'  thf-n, 


it 


^^ 


» 


^^ 


3=i=t=3 


ti  I  J»  J« 


S 


j^^T^ 


^^ 


^^ 


^ 


^ 


;  L 


-fit 


p  ppfi-  -TH^  fp  J'l'^'F  .'t'^i  ^'J'J^'N'i'J'.  .M^'J^J"^ 


i 


Company,  wheel!  Now  for  skirniishJFkintrank,kneel!ForwcLrd,singing- Aswe  go!         Cymbals  ringing-, 

i 


^^^^ 


^ 


w 


f 


^3   f  J"^ 


1^ 


T=f= 


W  g  I  ^ 


«; 


§s 


^ 


^ 


^ 


^ 


^ 


W 


^ 


cresc.  mo/^o 

^ 


■     ■ 


"I'P  f  rP'  ?|J'  Jiitp    F  I  J' J  J' 


s 


-»-^ 


Bugles  blow!      Shrill ,  shrill  -  er,      Fifershave  come  ;  Brum  -  ta- da-boom-boom  Beats  the  drum! 


( 


j^  J>  JJJ'  JiJi4^Jitj}|  j>jj;ij^p|j    '^p^''|p  7  '.-p  f'j 


Brum-ta-da-boom-ta-  da-br-r-r-um!  Oh.the  boys' own  brigade  has  come!  We  have  come,        We  have 


2H9 


come,  Oh, the  boys' o'wn brig-ade  has       come!         Brum-ta-da-boom-ta- da-br-r-r-um!  Un-dis- 


^  ^  J-'  V  J^ ; 


ppiP-  V  p  piP^  ^  ppiP  J^i^p  T'lrr^MF 


;e 


^3 ^ 

may 'd.the  brigade  has  come!  Who's  a-fraid?  Who's  a  -  fraid?  Who's  a-£raid?llie  brigade  has  come ' 


i 


£ 


f 


YM-'      '     *;~ 


I 


^ 


f^?^f^ 


SI 


'1-    '    CI 


:r—f- 


i 


D 


!^=fc 


^ 


;t   f,    ^^  J 


p  I  p  p  J'.  ■;,  I  p  ^feE 


¥ 


^ 


Taps  have  sounded, Night  has  come  ;     Still  the  trumpet,  Still  the  drum;  Si-lent  the  fi  -  fer. 


Jf 


^^m 


^ 


# — p — p- 


p — •■ 


^^ 


#^ 


^5=^: 


.    r\ 


p-JJJ|p-i  1^ 


^ 


^ 


»!  #■ 


Silent  he;       Sleep.  fi-fer,Sleep,druminer,Sleeptill  the  re-veil  -le. Ra-ta-ta  -  tee! 


270 


Come,  Dance  witli  Me 

(Book  Three,p.l68) 


Alice  C.D.Riley 

m   =  92 


Neapolitain  Folk  Song- 


m 


IK 


:e 


M   [iSt   ^  I  f^ 


Dance  wth  me,     £Lh!     come    and         dance  with   me! 


^ 


)■ 


^^ 


«        H 


^ 


W 


'^  j^  ^  F  ■  ^ 


\\  '-  f  ''  T 


.g^r^ 


^ 


P    P     ^''    ^'  I   ^' 


^       IMP    tlfFg 


t=it 


Light,    ah,         light  and  fleet    of  foot    are  we. 


Trip    it,  come,    ah,  come  and 


( 


^ 


U    ^TTi 


p     wfp 


^ 


^ 


?^^ 


^ 


^ 


=^^=^ 


^ 


^^  T-  >J  i 


r 


f  p  P  J'J'IJ   '    ^    |J'J^.i^^F  p 


trip    it    fleet,  Danc-ing    light  on  will- ing-    feet. 


Up  on  your  tiptoes  now  and 


.'    i   IJ       1  I 


pir-  ou  -  ette 


Sway  like   a    bird     a  -  bout      to  fly! 


in 


i^  i'  jijiJ'  B  p  JM  J'  jij'^  i 


h }  J'  ji 


W^ 


DcrwTl'withyrJur  curtsey  now,     a  gay    co  -  quette; 


Smile         de -mure  and  down -cast 


frnn 


^^ 


f 


3  J  3fe; 


^ 


C-":  "»    ~«r- 


^^ 


f 


j ,P  ^  F  ■ 


1 


i 


/'f 


Jm  c   Ji  J    ^ 


i^=T 


fcjK 


i 


eye! 


Dance  with     me,       ali,       come    and         dance  with  me 


/?■ 


I 


^^^^^= 


>     r-       "f     ^     f=r=± 


^ 


^^ 


L  »: 


X==r: 


ol     -     Iv     ruw' 


Up      aiui       down  the   line    we  gv. 


272 


Miriam  S.  Clark 

Andamte  con  moto  J  =  S8 


A  Child's  Fancy 

(Book  Three, p.  170) 


John  E.West 

Composed  Idr  tb'is   ScrK* 


day  is  near-Iy        o    -     ver  aiid  the       shad    -     ows   all    are     gray,      Theresa 

niolh     -     er  -  ly    old      wil  -   low  stow ing-    close  a- gainst  the     wall,         And     I 


) 


k 


is  near  -  ly        o    -     ver  aiid  the       shad 
er  -  ly    old      wil  -   low  growing-    close 


ows   all    are     gray,      There's  a 
a -gainst  the     wall.         And     I 


■ 


Ht 


m 


# 


W* 


^ 


^ 


i 


^ 


2^ 


f 


cresc .    I 


:• !  n!'Oi'': 


^ 


dim . 


X 


^H-=f^ 


% 


3 


f       P    P 


^ 


,  ■     ■  -—  ...    p     f- 

place  in     fa-ther's    gar  -  den  where  I  dear    -    ly   love  to        stay;  For  I'm 

climb  up     iu    her      branches,  know- ing       weU  I     can  -  not      fall;  For  she 


tired         of    all    my      les-sons,      ajid   I'm     wea 
rocks        me  ve  -  ry      sof  -  tly         in    her     gvn 


ry    of    my      play, 
tie    lev  -  ing      ■»-ay, 


When  the 
When    the 


^^ 


273 


poco  riten . 
V 


* 


^ 


ic=!s 


a  tempo 


^ 


l-J      i      I 


T       fr 


all 
all 


are        gray  • 
are 


There's  a 


i 


gray 


^ 


^ 


*  •    m 


a  tempo 


mp 


mp 

a  tempo 


^ 


i 


i 


i 


^ 


^^=T 


*       * 


■    »  r 


i 


-.^ ^     P^ 


^ 


■-*'  "pp-  ^  p  p  p  p '  r    r   F'  p'C   iji'^^^ 


Sof  -  tly  to  her  leaves  auid    bran  -   chrs     come    me     breez    -    es  of  the     night,     Aiidthey 


^m 


s 


"^j*    ^iri 


i|J#   J#  — >     >     JlF 


^ 


t^3»>    >^ 


^§ 


^ 


l^/i'  J.     j^^^;^!  J    J  ^i'.  iwl    J' J^  Jm  '' 


^^ 


sing-        me  songs  of     dreeun  -  land       in     the      dim  and  rest -ful        ''g^'- 


i 


u-^y^ 


274 


cresc. 


I 


mp 


•J       Hii    J  '■^, 


i 


f  I  »r'    F 1^ 


E^3^ 


dim . 


poco  liten 


n 


m 


I        !      T 


p '  r  F-^^g 


sleep  and        slum  -  ber,    For  the        daj'        is  near-ly       o    -  ver, 


aiid  the 


i 


.^.1  J-      ^ 


sksS 


^^ 


fe 


/oco  Titen. 


^m 


Si 


f 


-.IJ,^ 


i-^ 


=tP=t 


dim. 


f 


Ladybird 

(Book    Thrr,j,p.l(;;{ 


Allegretto  grazioso  J 


60 


275 


Robert   Schuma/ui 


i'^^l'Hl^    l-^-^T^ 


M^ 


/   ;n;j  M   -i^-H- 


-N — s 


^ 


K^=^ 


T~7~? 


l.Come,    la  -  dy-bird,  and    '        sit  youdown    Up   -     on     my  hand,  up    -     on    my  hand ;  Be 
2.   Go,      la-  dy-bird.  fly        home,  fly  home ; 'Tis       alJ      on    fire;y(iiir    rhil-dren  rrj'      So 


^i^ 


f 


f 


^^ 


^ — ^ 


Jp 


^^ 


^ 


^ 


t- 


ji 


K        ^ 


^^ 


^ 


^^ 


//' 


M 


^ 


sure     I       will      not 
sore  -  ly,      oh,      so 


harm    you , 
sore  -  ly; 


No! 
Cry, 


I'll         nut        harm    you .  1 

crv         so  sore  -  Iv .  T)ir 


<<'»      -         J'       -,- 


w 


:*=? 


^ 


^ 


itn 


ten . 

M 


> 


m 


m^ 


^ 


* 


^^^^ 


Is  S 


i=:ifc 


J'  i^  ^'  ■   r 


s= 


r 


T- 


will   not  harm  you,       prot  -   ty     dear;    Show  your-  li  -  ny   wing-s,  and  nev  -  er    fear; 

cunning"    spi  -  dtr       spins   them   in;  Fly,    O      la  -  dy  -  bird,    fly      home,   fly     honit- 


^ 


'^-^^—^-^=^-j.  J^  \±ja 


^ 


^^-ifr-^ 


#!     0 


Ti-ny  wings   to     me    are     pleasing. 
To  vour chil-dren.cry -ir.g    sore-ly. 


p 


m 


■Tj-  "  -W— 

'  r  M 


*    n 


^   7  *  *.  ^ 


5& 


^t^--^^4- 


^ 


276 


Maud  Wilder  Goodwin 

^  Andante   J  =  63 


Greeting 

(Book  Three,p.l7l) 


Felix  Mendelssohn-Bartholdy 


(I 


P=tfcfc 


l.Cric-kets  chirp  the    whole   nightlong-;  Reap -ers'scjrthes  are      swing-    -      ing; ; 

2. From   a      cot  -  tag«      can -dies    shine;         Hap  -  py  friends  are       mee      -       ting-; 


^ 


m 


^ 


w 


O  ^  '^  p 


wu 


m 


legato 


^ 


ffifc 


^^ 


^^^^ 


kf>'''^  F   J' 


s 


.  dK 


^^ 


In         my     heart       cui 
En   -    ter,        lit    -    tie 


(^ 


}'  J  J  J 


^ 


^ 


ffi 


J  J  J  J  J°TB= 


f 


f 


au  -    tumn      song- 
soag-     of        mine, 


r       r 


Mer  -    ri     -     ly         is 
Bear    them      love      and 


^ 


Pouts  and  Smiles 


Nathan  Haskell  Dole 
Paraphrased  f mm  a  Dutch  Song  Game 
Cheerfully  hut  calmly  J  =  108 


(Book  Thrce.p.lT^) 


Catharina  van  Rennes 


^^ 


^^ 


J^ 


1.  Ma  -  ry,  what       aijs  you, dear? 

2.  Ma-  ry,    how     cross  you  are! 
'^  3.     Ma  -  ry,  come    dance  and  siiig-. 


^ 


^ 


m 


5 


^=^ 


zr- 


^— r 


^ 


5^ 


^ 


^ 


3^ 


3 


^eE; 


aE3E 


f 


ril 


f^ 


f 


^ 


■Be;).  ^Ee;) 

,     mf''  tempo 


s 


s 


F 


Why    are    you  pou  -  tiiie? 

An  -  ger     is  fear  -  full 

Join   our     g-ay        meas  -  ure! 


Frowns    on    your       face  ap-pear, 

Tan  -  trums   like       these  will  mar 

Whirl    with    the         mer  -  ry  ring:, 


All     sun- shine' 
Hours  bright    ajid 
Laugh    and     give 


f^iH 


m 


i 


^ 


^ 


w 


^ 


^ 


^: 


9^^* 


rit. 


a  tempo 


s 


€*-^ 


Tit 

pp 


r\    5 


^ 


^ 


^ 


^ 


^ 


rou  -  ting"! 
cheer  -  ful ; 
pleas  -  ure ! 


Wipe     off  that      naugh-ty    tear,  Ma  -  ry, 

They  leave   an  an-gry   scar.  Ma  -    ry, 

Pique    is       a  fooi-ish  thing:,  Ma       ry, 


Ma  -  ry 
Ma  -  ry 
Ma       ry 


2i 


ij. 


^ 


m 


J#     gg 


^ 


1 


PP 


i 


# 


^ 


^ 


rf 


21 


^Merrily  J=152 


tiui 


Tra,  la,  la,    la,  la, la, la, la,    la,   la,  la.   la! 


Tra,  la,  la,  la,la,laja,la,   la,  la, la,   la! 


m^^ 


m. 


m/ 


T 


$ 


S 


i 


r 


# 


A.J. 


^ 


i 


?;£ 


^= 


178 


A  Suggestion  for  a  Happy  New  Year 


Mary  Mapes  Dodge 

Allegretto  moderato  J-  =  69 


(Book  Three,?.  175) 


Homer  N.  Barilett 

Cimposfi  for  this  Stncs 


P 


^ 


_3^ 


rT"j'  J'  ; 


Sup     -    pose    we    think     lit    -    tie       a 


^ 


^^^ 


^  n  i 


J     n     J 


^s 


« 


m/- 


i'    J  j^ 


^ 


^ 


^ 


J      I   ,  > 


boutnura-ber     one;       Sup  -  pose  we      all  help  some  -  one       else     to  have     fun;        Sup- 


'f '  J  a  J    i      i' 


Ji  J.      J' 


i 


J   J.  j      j 


r TT 


•JH''  ;  n^  ;  ^ 


f 


^^ 


f  "^  n  ^ 


P  ^  P  F  ^  p  I  P  P  p  ^^ 


P 


f 


pose  we  ne'er  speak  of    the       faults   of     a     friend ;  Sup    -     pose   we   are     read  -  y     our 


own      to         a     -     mend ;  Sup 


pose       we      laugh    with       and        not 


279 


# 


?^ 


^ 


.g- 


cresc. 


U         •! 


j'.,iji  r  *    i<  .^^ 


at      oth  -  er      folk;    And        uev  -  er   hurt   a   -    ny-  one      just    lor     a       joke;     Sup 


-It — ^ 


./  -= 


^"  i'-  J  J'  F  F  :~T['  F  J'  r    p   ii'i  r   r  r 


like  -  ly  we'll  have  quite   a  Hap  -  py  New  Year;  'Tis 


l'''ii,ri  I'm  L^J  J 


like  -   ly       we'll 


^ 


w 


Fi^-- 


./ 


^^ 


1 


5E 


I'    f  P 


^^ 


I 


have  quite     a  Hap  -  py  New 


Year! 


cresc. 


^ 


^^ 


« 


^''-^      ^     ^      •- 


i80 


The  Swing 

(Book  Three, p.  178) 


Robert  Louis  Stevenson 
.        Animate   J  ■  =  60 


Julius  RontgBn 

Cornpoted  Ur  tbt-  Sen'- 


i 


^ 


i?^ 


?=J^ 


^A-glU^ 


::?==: 


in 


u 


1  .  How     do    you    Like    to    go 

2.     Up      in     the      air and 

'3     Till     I      look  down  on   the 


up     in    a     swing-  ? 
0  -  ver  the   wall, 
g-ar    -    den  green, 


i 


s^ 


s 


SsnP^ 


i 


=*^ 


^ 


=?^ 


^ 


How  do  you       like    to    go     up      in     a 

Up      in    the        air and   o  -  rer  the 

Till    1     look  down    on  the    gar    -     den 


) 


tt 


^^^^ 


^? 


ES 


V-g/!Jj   rJ 


^ 


^ 


^ 


a'lJJ   F'    F 


^ 


i 


\\  .^  j^ 


r     F  I  r- 


n  r  r 


^ 


^ 


-K 


r 


up     in     the    air  so  blue? 

Till    I       can    see  so  wide, 

Down    on    the    roofs  so  brown , 


i 


$A 


N       t. 


f       y  r 

Oh,      1      do  think     it  the 

Riv  .  ers    ajid    trees and 

Up       ill    the    air      I  go 


«*   •      •)  —4- 


^ 


m 


^ 


swing?  Up      in     the 

wall  ,  Till     I       can 

green,  Down    on    the 


air  so  blue? 
see  so  wide, 
roofs     so       brown , 


^ 


i     ■/  i\ 


^ 


^ 


Oh,     I       do 
Riv  .  ers    and 
Up      ui     the 


f 


'.HI 


4db?= 


^ 


^ 


cresc. 


I  i'  i'  f  r  pTT  g-  B  p 


4 


pleas 
cat 
fly 


ant- est   thing-, 
tie    and     all, 
ing-   a    .    g'a'in, 


Oh,     I       do  think     it      the 

Riv  -  ers    and    trees and 

Up      in     the    air      I       go 


r 

pleas -ant  -  est  thing 
cat  -  tie  and  all, 
fly  -  ing"  a   -    gain, 


iA, 


^m 


i^  ^''  I  J',  i'  i''  ^^^ 


^ 


^^ 


^ 


think      it    the  pleas  -  ant  -  est      thing, 

trees and    cat  -  tie    and       all, 

air      I      go     fly  -  ing  a     -     gam. 


=r 


Oh,  I  do  think  it  the  pleas- ant-  est 
Riv  -  ers  and  trees  and  cat  -  tie  and 
Up       in     the        air     I       go      fly  -  mg    a    - 


J.  J^J    J- 


f 


0    t»j 


55^^ 


fe^^a 


^m 


M 


cresc 


^ 


S 


33C 


Ji 


^^ 


r- 

Ev  -   er    a  child, 

Riv- ers    cind  trees 

Up       in    the  air, 

1  p  .  cresc 


I 


fc^ 


^^ 


ev  -  er  a  child 
0  -  ver  the  co««i 
up      in    the     air 


< 

can 
try 
and 


zzz 


m 


E 


f 


thing  Ev   •    er    a  child, 

adl,  Riv  -  ers    and       trees 

gain,  Up       in    the       air. 


ev  -  er     a        child  can 

o  -  ver    the     coun     -    try 
up      in     the     air  aad 


T.  M.  Vol.  Ill— 10 


:82 


Annie  Willis  McCuUough 

J-=  60 


The  Green  World 

(Book  Three, p.  174) 


E^ 


Vincent  d Indy 


1.  It's      such      a  green    and     sun-  ny  world 

2.  The     sun -shine  plates  the  world  with  g'old ; 


f4  i'li^i 


=?=F 


Out  where  the  spring" things  grow, 
Blossoms  pour  out  their      sci  nt  : 


) 


i 


P^^ 


^ 


TZ 


r 


^ 


rT2 


^ 


^^ 


^ 


^ 


s 


?^ 


'i,i'it,fuhirhi^ 


Out  where  the  blossom       bran- ches  sway,  And  where  wild    ro    ■    ses 
Breezes  play  tunes  that     make  you  dance    As  if       a    waltz   were 


blow! 
meajit 


^.',,«j       J 


A. 


1 ^ 


<   im   r«^^ 


i 


V 

The 
The 


^ 


r=r 


T — rr^ 


^ 


^ 


^ 


^ 


b!> 


D 


»  J  u-i   ^'^\}  Ml  'I 


s 


i 


birds   are    sui^  -    ing-      cho  -   ru  -  ses       In  ev  -  Vy   way  -  side       tree, 

brook  flings  out         ca    -    res-singf  arms  Where   ferns  and   nios*  -  ses        thrive; 


.\nd 
Its 


^^^M 


k=i^ 


E^fe 


E 


i  ;'i   J. 


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■it 


TF" 


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J-  J7  3  i 


i..  "JW 


m 


^4 


^P  r    P.  '7   p  ^  ^ 

sorauchlhats       won  -  der- ful  To 


^ 


H 


^ 


^ 


there  s 
such     a  green    cJid 


sun  -  ny  world 


>^* 


^^ 


To       smell 
I'm       g"lad 


and    hear, 
to     be 


P, 

and 


see!  . 
live! 


5  '  ^  j  ^ 

V 

1'  ■,  ^  j  : 


^ 


p^^ 


1^^ 


^^=H 


28.7 


The  Joys  of  Summer 

(Book  Three, p.  185) 


Miriam  Clark  Potter 
From  the  Dutch 


Catheirina  van  Rennes 


lM~ffJJ\Tl~i /TriTj    ;  i  ^^ 


1 .  I       love  the  warm 

2.  The  flow  rs  ill      the 


-"Aii  w    pi^'^^r  p  r     j-'iLXf  F   M      P 


^ 


^a^ 


sum-  nier,With  beau-ti-ful       days, 
mea  -  dow That  sway  as  I  pass, 


Fur  then  I    may    wan  -   der    In   out  -  of- door 
The  fish  in  the       riv  .    er, The  sheep  in  the 


^ 


^ 


J^ 


J    J-  J  .  j\  J^J 


i 


t==m 


^m 


^r    r 


f 


i^ 


plays.  The  sun     is    so     gol  -  den. The  gar- den   so 

grass, The  bird    as    ii      car  -  ols,  The  bee    as    it 


fai  r ; The  breeze  comes  to 

hums; They  wel-come    the 


R 


rrn  j 


fs^^ 


meet    me.  And  blows  in  my    hair.  _ 
bum-mer  As  soon    as  it      comes!. 


i- 


S 


p  F    pi^^f^ii-^  r'^'^^' ^^  Fi^^ 


s 


f 


284 


In  Life  if  Love  We  Know  Not 


^  .  ^  .  ^  „    „  ,  ,       CANON  IN  THE  FOUTH  BELOW 

Fnednch  V.  Bodenstedt  (Book  Three.p.  181) 

A       Allegretto  J  =  66 


Carl  Reinecke 


^^ 


) 


>^!>;j  ^     ^ 


^     ^ 


f 


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^■r — "T     ^ 


g 


^ 


l-£jLi±J' I  i '  "^^ 


i  ^   ^"-^J*  '^ 


^ 


J^^^-CJI^ 


^Jtw 


■iw         *  "E.^. 


^EeO  * 


( 


P 


^S 


^ 


know       not, 


'Tis    as  vines  where  ten-drils       grow  not , 


fi^'''    , 


^ 


}■    }     J'     ,h     J'    ^ 


life  if    love  we        know         not. 


'Tis      as    vines  where    ten-drils 


d^-  J    J 


»-    If      t  r  r 


n  n  n 

« m *-» 


T 


■aw 


M A 


^'      '^ 


^m 


tiir: 


^r   f  T   r 


■sEeJ  * 


285 


^^^ 


^ 


^^ 


-TT- 


found         hot . 


i^  '  J'  J'  J'  i 


As  vines  where  grapes  are       found       not. 


\ 


"^^^     r      r  r  r  r 


r<3  "Til 


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TAt%J^ 


^3s 


*      "EW. 


286 


i 


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m      m 


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reave  thee. 


TJiese        two    be    ■     w; 


i 


^ 


$ 


r      r  r 

1  ?      r 


*y 


all  fatt 


be    -     reave         thee, 


r     r 
These       two    be 


i 


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v.. J.,..   ; 


^^^^^ 


gJgljLli 


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3iztq 


iinm 


m 


r 


'/id  * 


-lu:) 


'jij         ♦ 


i 


^ 


I  I       i 


iz=d 


leave  thee, 


These        two 


be 


i 


m 


nsi 


^^ 


i 


— M  * 


■ware 


it  leave  thee, 


dim. 


m 


^toti/ 


^ft 


"Et^ 


-^  *  V 


•2^ 


2fi: 


i^ 


^ 


Tnese         two 


it  leave         thre. 


rnli 


In 


caluttdo 


T^ 


be     -    Wore. 


it  leave        thee. 


!>- 


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dotce 


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calando 


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rj_z± 


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-  a  tempo 


-»■ 


T? 


1U.)      * 


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;'       J'      W- 


^5=3; 


=^=^ 


? 


*         W 


t^        / 


'Tis     as  vineswhtTf  t«jii-drils 


Jife 


^ 


if      luve    we       kiiow 


not, 


^^ 


In  life 


,* 


a  tempo 


if      love  we        know  not , 


d    '  ^      *      m 


^^^t 


^ 


ryiiruj 


=^ 


">/ 


^ 


fe 


i_JZW_ 


^= 


5f^^ 


s 


*  "    L- 


^^^ 


-EpJ 


*      "E^         * 


^ 


_z. 


^ 


not ; 


In  life        if         faith      a 


^^ 


J'   J'   ;   ^'  ^ 


Tis 

I 


as     vines    where      ten   -   drils 


g^row 


not  ; 


^S£ 


i 


!    J     J 


^ 


^  r    L.r 


j-^  ^^  ,,-^- 


=»? 


"St^ 


%A 


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S8 


i 


dim. 


^ 


^ 


p  r  I'P  F 


T 


^^ 


^ 


buuud  not,        'Tis  .  as    vines  vsiicre  grapes 


are    found         not,  arc 


^=?v: 


^ 


^ 


^3 


^ 


=(^ 


In     life     if    faith   a     -     bound         not,        'Tis     as      vines wheiv  grapes  are 


^ 


3 


J. 


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i-fj  tp  f. 


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fflr^fn 


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ffl 


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•Er-I  ^t      '^tW. 


*      ^iieJ        ♦    'iW 


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*         'tcb 


not. 


d5 


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found 


not . 


FroiH  The  Messiah 


He  Shall  Feed  Mis  Flock 

(nook  Thr.T.p.  r.)2) 


289 


1^!  r,  I  r 


^ 


Georg¥   Frederick  Handel 


^^ 


« ) H — F ■ • .i'     M        M 


S 


^ 


*-• # 


*— #r 


i^ 


Hi' __  shall  feed  His  flock  like  a       shep 


herd,        and     Hc— shall    ^aih-trthc 


^ 


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*=?^ 


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1         I     y 


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4s== 


T^  J^JJ'  j.  yH-f^-^n^ 


V  I   ^"u 


lambs  —Willi  His  arm, 


@ 


fm 


with 


.His     axn. ;  and       car     -     ry them. 


^ 


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gK    !    !^3 


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A  J  J' 


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b    r  f!  r  F 


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m    Hib     bos    -    cm.  aiid    gfii-tly    lead —  those      that are with  young-;        and 

^  J    N  I — ^-^- 


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31 


a=* 


r-^r  pr  pmr 


*    *  -^ '» 


fy 


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gen       .        tlv   lead, 


-t 1-- 


:i^ 


and      gen       —         tlv    lead  _  those  that       are 'Aith   young-. 


■^^ 


:J=^ 


J:     J     J'J-J 


tCt 

c 

te 


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-#-= — •- 


290 

Abbie  Farweil  Brown 
From  the  SzL-edish 

Semplice  J  •  =  69 


Winter  Longing- 

(Book  Three, p.  lb-}-) 


Wilhclm  I'eterson-Rerj^er 


g 


,/■ 


J-  J      '■ 


B 


ire 


Leaf  -    y   wood -land  ways,     Now  lor  you  my    hfart     is 


sigti   -    ing-!- 


i 


^ 


f 


iat 


fnf 


fj 


^:t- 


TT 


f 


^ 


=i^=^ 
^ 


^ 


^ 


7      W 


%^-     '       fa'-  i- 


^-^• 


t  P 


i 


w r 


?^ 


y 


r-    T:  j'JJj'j-    [J  .h  I  ;J  [;^^#^ 


=^=P 


^ 


.■Vh.the   flee -ting- hours        Spent  a- m'ong- the  flow  rs,     Ail  too  soon  tlieir  beauty      dy    -    ii.g-' 


2.  In  the  ap-ple  tree  S\\Tng^iig-hJgtj and  free, 

3.  Yes,thespringis  near  ;Soon  she  will    be  here, 


191 


*       / 


^ 


^ 


'I*  F  r  P 


*  ^ 


Sway-iiig-  to      ai.d  fru      so        lig-h  -  tly. 
La -den  witii  her  ver  -  daiit    trea^  -  ure. 


Like_a  birduas  1        ■    Floating- thro  the  sky, 

Sun-anddtnv  and  rain     Soon  wiLl  bring-  a-gain 


=^^=4= 


^Ek 


i 


^^ 


s 


£a 


f=P 


i5~Tr 


3^^j: 


f 


:?i= 


i 


'ir    'r 


^ 


-^ 


nY. 


.££- 


^ 


^ 


a 


^  J  ^'  * 


^ 


:t:J=e 


And  my  heart  was  singing-     brigh  -  tly. 
All  the  rat-r-  ry  suni-mer     pleas  -  ure 


Then  good- b\; good  ■  by,    Drear  -  y  win-ter  sky, 
Then  good -by,  good -by,    Drear  -  y  ■winter  sky, 


^ 


^^^ 


i 


4? 


^ 


^ 


d»--   fi' 


W 


I!LJLJ\ 


w 


pp^ 


)^ 


Ui «-: 


^ 


^ 


t^E^ 


-T»-»-- 


i 


".'/• 


e 


^ 


^  I 


2^ 


^= 


IT ^     *    • ^ 

Prost  and  cold  and  wic  -  ked         weath  -  f  r. 


Sunbeams  kjnd    and  wnnii 


* 


i 


j==r^-^^ 


^ 


r^rg^ 


1.5  ■• 


m/- 


S 


5E 


^ 


^^ 


-f       0 


-nr- 


t5- 


/*;      ' 


* 


^ 


zizit 


--• — -!- 


K       I 


Soon  will  work  a  charm;  Snow  ai.d  grief  will  melt  to  -  gelh    -   er! 


i 


^ 


^ 


p  r,  r : 


•i 


^ 


^1 


^f 


NV-^7-jr-^ 


I 


T 


_lX' 


292 


Come, Thou  Almighty  King 


(Book  Three. p  19:?) 


[^ ;  J  J I  J-^^ 


F.  d'>  Giardini 


^ 


^ 


f 


mig-h      -     ty 


TT 


1.  Coiin',  Thou    AJ 

2.  Come, Thou    All     -     gra      -       cious 
.3.    Ncv   .    er      from       us de 


Kin<,-! 
Lord, 
part ; 


Help  us  Tliy 
By  heav'n  and 
Rule    TTiou    m 


i 


J: 


^i-J         J 


^ 


1    A 


^ 


namt- 
earth 


i 


1 
to 

a 


r '  M  r  '  ^- 


i 


i 


* 


^ 


r^ 


f 


praise'  Fa  ■  ther      ad\  glo 

tend'  Come,  aiid     Thy  chil 

more.  Thy      sov'- reign  maj 

1   A    A  1. 


^ 


sing; 

dored! 

heart, 

1. 


Help    us       to 

Our  prayer  at 

Hence     ev   .    er 


ia 


1 


ri  .     ous, 
dr^n    bless; 
es    -    ty 


M 


^ 


^^ 


m 


$ 


J I  J.  ^  J 


m 


r  g  r '  r 


rf 


f 


O'er  edl  vie  -  fo  -  ri  -  ous.  Come  and  reign  o  -  ver  us,  An-cient  of 
Give  Thy  g-ood  word  sue -cess;  Make  Thine  own  ho  -  li-  ness  On  us  de 
May  we      in  g:lo  -  ry    see.    And     to       e     -     ter  -  ni  -  ty       I-ove  and    a 


J}  1  1  1 


days! 
scend . 
dore. 


1 


^ 


r 


Mrs.M.  L.Duncan 


^.i 


Children's  Hymn 

(Book  Three, p. 195) 


Horatio   Parker 


g 


^ 


1 


f=^ 


ri  f'  r   rjr0 


-\xy- 


1.  Fa-ther,  ten  -  der 

2.  All  this    day    Thy 
3       Let  my    sins     be 


shepherd,  hear  me; 

hand    has    led     me; 

all     for  -  g-iv  -  en  : 


Bless  Thy   lit -tie  lamb       to     -    night; 

And     I    thank  Thee      for Thy      care; 

Bless  the  friends  I  love so         well; 


T^r  \  t  f    \('  ('  f  • 


^    ,!    J    J-J  ,  ,1  J^J-J 


f^^ 


s 


ZLC 


T 


=§= 


293 


i 


J=^ 


f^M 


i^^ 


'^   ^  .1  \  ^^   J    II   I.I    r**  ^'"'J I  j    ^ 


'-     T   i     '     I  (    I     I   T  .1      I  r    'I       r    r  ^ 

Through  thf>  dark-ness  be    Tliou  near   me;  Kcfji     me  sale     till morn  -  in^  ligtit. 

Thou    hast  •warm'd  me,  cloth'd  and  fed     mr;  Lis   -    ten  to my eve-  nin^  pray'r, 

TaJte       us       ail       at  last    to  heav-en;  Hap  •    py  there  with      Thee     to  dwell. 


S 


^y^ .  j  j^  J  ,j ,  .1  J  ^ 


-^^-^ 


—  "  I     ;-       *  ^   ^       f      I      fj       "       '-        rj         \    »   S    J 

r  f  r  I  r  (^  r^i  r  r  f  r  ^ 


-»- 


Arthur  Tozer  Russell 


i 


wt  -J    J 


Integer  Vitae 

(Book  Three,p.l96) 


Friedrich  Ferdinand  Flemming" 


J    J  I   J 


f 


i 


^ 


.1     J  J 


f 


,  r  r  r  r  '  r  t  f  r  '  r  f 

1.  Niglits  shadows  fall  -  ing-,       men    to    rest   are  call    -  ing ; 

2.  Thou        ev  -  er  Hv  .    est;        end  -  less  life  Tliou  giv    -  est; 

3.  0         Lord    of  Glo  -   rv        praise  we  and    a    -  dore  Thee! 


-"V'i>  \r    r  r  I  [-  r  I  r  r 


f    r  r 

Rest       we,  pos 

Thou  watch  art 

Thee       for  us 

.     J  i 


^ 


*      t 


^^ 


^^^^W^ 


J I  J^J>  J 


r  r  '  r 


sess 
keep 
giv 


ing  heavh- ty  peace  ajid  bless  -  ing  ; 

ing         o'er  Thy  faith -ful,  sleep -ing; 

en,  our    true  rest  from  heav  -  en! 

i      J.  i  i  J     J    i 


This      wc     im 

In        Tliy  clear 
Rest, peace,  and 


plore 
shi      ■ 
bless 


•H\y  r      r  I  r'  c  f  r  I  ,^  r  <  I  ^    r  r  T 


Thee, 

"ing 

ing", 


L 


F^ 


i 


':    ^',J    J   I   J-.J    \    \  •  I   J"  J    I   J, 

r  P^r  r    Mr  ^    f    r  r  '  r-f    r 


J       I     .J  -J      I     j:       f      H 


S 


f 


fall  -  ing  down  be 
they  are  now  re 
we      are  now    pos 


^ 


i 


u. 


^ 


fore      Thee,     Great  King  of 

cli     -     ning,         All  care  re 

sess    -     ing         Thy  name  con 

J-J    J    ,   j"      J  ^ 


glo 

sign 

fess 


ryt 

iiig^. 

ing. 

i- 


('  ^T 


294. 


Jaint's  Montgomery 


Portuguese  Hymn 

(ADESTE  FIDELES) 
(Book  Three, p.  194) 


John  Reading  (?) 


di 


1 


J    J  I    J  -  J 


#: 


-rr 


1 .      Tlie      Lord        is      my       shep  ■  herd .    no 
2       Let      g^ood    -    ness  and       mer    ■     cy,    my 

i 


r  r    r 

shall     I  kiiow; 

ti   -    ful  God. 


want 
boun 


r 
I 

SlilJ 


sm 


la 


i 


j-i  J  J 


^ 


(9     g    ,      J 


feed in   green  pas 

fol       -        low    my  steps 


turcs,  safe 
till      I 


ded        I 


T     r 

rest ;  He 

hove .         I 


r 

fol 

meet 


Thee 


?qi=f? 


J    J    .   J 


i 


J  J, 


i 


* 


mm^ 


r 


T=f 


i^ 


i 


3=3^ 


nrj    K" 


* 


eth    my 
by     the 

J  i 


^  r  '  f'  • 

va  -  ters  1  low ; 


7^ 

lead 
seek. 


soul        where   the  still, 

path       which    my  fore 


hro'  the 


fa  -  thers        trod, . 


^ 


I        H   .   ^-J    J  ^   ,    J^ 


i 


[^ 


^ 


^ 


J    I    J    J    J    J 


:fei 


^    p  ■■  r  r 

stores me  when 

land of     their 


wan  -  dnng-,    re 
so    -    journ,  Thy 


7    T^ 

deems    when     op 
King-  -    dom    of 


y^ 


pressed ; 
love ; 


Re        - 

Thro'  the 


^ 


J-J    J   ^  ,    J       J     J   ,    J^J    J    J  ^ 


Henry    Alford 


The  Joy  of  Harvest 

(Book  Three, p.198) 


295 


Georg-e  J.  Elvey 


^ 


^J   J  I  J   J   J  I  J.   >J    J 


r^ 


T-p  r  r    f  r  «r  '  f-  p  TT 


f  ?  r  r  .  .  ■     .    r  .   ,     ... 

1.  Come,  ye  thankful      peo-ple,  come;  Raise  the  song:  of        har-vest  home:      All       is    safe  -  ly 

2.  All    tiiewdrld  is      God's  own  field, Fruit    un-to     His   praise  to    yield;  Wheat  and  tares  to 

^1. 


=^'  >f'i^i^Mii'i^/V:^rf-f 


I 


t  J- J'j  I  j'j  j  jl  J  J  J IJ.  J'j  JIJ  j 


i 


^ 


rr   r  ^r  r  r  r    r  j^  f  '  ^  p/  r '  ^  ^  y  'J'  P  ^  > 

gathered  in      Ere  the  win -ter  storms  be -gin.  God, our  Mak-er,  doth  pro-vide  For  our^v'allts  to 
geth  -  er  sovni,  Un  -  to     joy  or     sor-row  grown.Firsttheblade  and  then  the  ear, Tlien  the  full  corn 

J-    .^J  ,J-  ^J  J.J.    .Vl.J.^J  J 


,'i';ii'i'.^^ 


i 


m 


r  f  I  r  p  r  r ' r  TT 
J.  j^j  I J  J  j 


r 


i=^ 


j=^ 


f  'If    f  '  f  T     r  T^ 

Be    sup-plied;  Come    to  God's  own    tem  -  p; 


n 


i 


r  r  r  r ' 


f 


^ 


be    sup -plied ;  Cdme    to  God's  own    t^m  -  pie,  come,   Raise  the  song  of       har-vest  home, 
shall  ap- pear;  Lord     of    har-vest,  grant  that    we    "Whole-some  grain  amd     pure  may    be. 


A^JA 


t 


k 


i 


r  ^  n  rjnzu-^  r  r '  r  r 


I 


^^ 


Godfrey  Thring- 


All  That's  Good  and  Great 

(Book  Three, p.  199) 


^m 


f 


m 


^ 


r  ff 


rT=^ 


Be    it 
Not    an 
All     in 
TiU  with 


1. 
2. 
3. 
4 


All  that  s  good  and 
Not  a  bird  that 
Tas  and  near,  o'er 
May  we        ail     wth 


great  and 
does  not 
land  and 
songs  of 


true,     All    that 
sing    Swee-test 
sea,    Moun-tain 
praise.Whilst    on 


rrr 


? 


IS 


and   is 
prais-es    to 


0 

Thy 
top  and  wooded 
earth, Thy  name  a 


be, 
name; 

dell, 
dore. 


^ 


!-hilSP^f  ''-hlim^ 


^M 


^ 


ff 


m 


old      or      be  it 

in  -  sect      on  the 

sing-iiig,  sing  of 

an  -  gel      choirs  we 

..   J     J     J  JJ 


Comes, 
But 
Songs 
Songs 


r 

new, 
wing 
Thee, 
raise 


2 

Thy 
of 
of 


J 


i 


r   r    r  f 

Fa-  ther, comes  from  Thee, 

won-ders   doth     pro  -        claim, 

love     in    -    of    -    fa  -       ble. 

prciise  for  -    ev   .    er  -       "more. 

J     J     J     J 


g 


r^^ 


^ 


r=rr 


296 


Now  with  Creation's  Morning  Song 


Aurelius  Clemens  Prudentius 


(Book  Three, p. 197) 
(5th  Century) 


Ludwig-  van  Beethoven 


1.   Nowwithcre  -   a  -  tions     morn  -  ing^     song*     Let    us,  as      chil-dren     of the    day,Wi( 


morn  -  ing-     song-     Let    us,  as      chil-drpn  of L  the    day.With 

pure,    so      clear,     Its  own  sweet  ralm  in  us in -still!     A 

day  g-lides    by.      May  we  the      bu  -  sy  sens    -    es  rein;  Keep 

love      to     Thee,  Cleaxeves  to  meas  -  ure  things     be-low;Faith 

i    J       I  ii 


Nowwithcre  -   a  -  tions 
Oh, may  the    mom.  so 

3.  And    ev-er,      as      the 

4.  Grant  us,  0       God,  in 


-'^^"'rr  fir 


^M 


m 


^ 


t 


j-jj,j  J 


r-rr'i  r 


^ 


Ji  J-JJii  ^i^^!|J  .'i^NiJ-Jjii 


f 


'(  r '  r    f'l'  r'  f  ;Mr  rrr"~rT   r'  r 

wak-ened     heart     and    pur- pose     strong,  The    works    of      dark-ness    cast        a    -  way. 

guile -less     mind,       a    heart    sin  -  cere,      Sim  -  plic  -  i     -    ty         of     word     and  will. 

guard  up    -      on       tlie  hand    and     eye,        Nor      let       the      co«-science  suf  -   fer  stain . 

the       in     -     vis    -    i    -    ble      to      see,        And     wis  -  dom,  Thee      in       all         to  know 


^ 


r  r  I  f   r  I  r  r  I  r  V  i  r  T  M    r i r    r i  ^J 


Oh,  Worship  the  King 


Robert  Grant 


(Book  Three, p.200) 


J    J    J  I    J 


^^n^ 


Franz  Joseph  Haydn 


^^ 


1^ 


f  r  r  '  I'    r  '  r  r  r  ■  r    cj  '  r  r=r 

Oh,      wor-ship  the  King,     all  glo-rious    a     -  bove;      And  grate-ful-ly 

Oh,      tell     of  His  might,   and  sing   of     His  greice,  Whose  robe     is      the 

Thy     boun-ti  -  ful  care     what  tongue  can    re     -  cite?       It  breathes  in     the 


1. 
2, 
3. 


,^ 


J     J   J 


j  J     ,^   ^  /  ^    ^     1^ 


L^4 


r^ 


J    J  I  ri  J 


^ 


i 


e 


^ 


^^ 


i 


* 


'S   r    f  '  u  f  r  '  r    r 


f  r  r 

fen  -  der,  the 

wrath  the  deep 

hills,    it  de    - 


sing     His  won    -    der   -  ful 

light, Whose         can    -     o    -    py, 
air.  it  shines      in        the 


love;  Our  Shield  eind  De 
space;  His  char-  iots  of 
light;     It       streeinis  from    the 


^ 


1 


i 


J J. 


^^ 


i 


J       i   i    J 


r7^f~i 


^ 


297 


<i-=^=i 


I 


? 


m 


An-cient  of  days, 
thun  -  der-clouds  form; 
scends  to      the       plain. 


M 


I  I  1 1  I  I  -J  I  ^  J  J 


^  '  r  r  r '  r  r  r  '  CJT  r '  t 


m 


^ 


Pa     .      vil-ioned   in  splen  -  dor,  £ind  ffir  -  ded  with  praise. 

And        dark    is     His  path      on     the  wings    of     the    storm. 

And       swee-tly    dis  -   tills     in      the  dew    and  the       rain. 

J        J        J  J        J        J  J          J        J          ^1 


^M 


i 


W^ 


T 


Praise  to  God,  Immortal  Praise 


Anna  L.  Barbauld 


(Book  Three, p.  201) 


Conrad  Kocher 


|I7pVl   J 

• — 

— • r. 

1       1      J       J 

-H — 

1 

1.  Praise 

2.  All 
.1.  Peace, 
■i.      As 

i 

to       God, 
the     plen 
pros -per  - 
Thy    pros 

-4r 

im 
-ty 

i 
-p'ring: 

-•- 

* 

mor 
sum 

ty. 

hand 

— # -p 1 

1     r 

-  tal   praise, 
mer  pours; 
and    health, 
hath  blest, 

For    the    love 
Autumn's  rich 
Pri-vate  bliss 
May   we    grive 

J    J    J 

-H 

that 
o'er 
and 
Thee 

— J 1 

1 J — 

■»- 

cro'ATis 

-    flow 
pub  - 
of 

m 

1 

r 

our 

■  ing- 

lic 

our 

4= 

(9 1 

f 

days; 
stores; 
wealth, 
best; 

—  1 

^ — if-+^ — 

^  1 — - 

— f— 

-A ' 

'  r  f  r 

4= 

n 

i 


^ 


i^ 


j  J  J  J   I   J  J   J 


^ 


Boun  -  teous  source  of 
Flocks  that  whi  -  ten 
Knowl- edg-e  with  its 
And         by    deeds    of 


-r-r^ 


ev  -  ry     joy.  Let  Thy  praise  our 

all      the    plain;         Yel  -  low  sheaves  of 

g-lad-d'ningrstreams,  Pure     re   -  lig-  -  ion's 

kind  -  ly      love  For     Thy    mer-cies 


ngue 


tonnes  em  -  ploy  ; 
ri  -  pened  grain  : 
ho  -  Her  beams: 
grate  -  ful  prove; 


^/n-'  h^   i;,^J^^^ 


/p.'ll'  J  J  J  J  ^ 


^  J  .1 II 


w 


Pt 


r  r  r  r 


r — r 


r  r   r  f- 

Source  whence  aU  our 

Grate  -  ful     vows  auid 

Grate  -  ful     vows  and 

Praise    to      God,  im 


bless  -  ings  flow. 
sol  -  emn  praise  . 
sol  -  enin  praise, 
mor  -  tal     praise. 


All      to    Thee,    our 
Lord  ,  for  these     our 
Lord,  for  these    our      souls 
Sing  -  ing  thus  through     all 


God  ,  we        owe  , 

souls    shall  raise 

shall  raise 

our  days. 


m 


Hi 


^ 


j=^ 


i 


J  .  J  J  J 


W^ 


J 


m 


('  I  r  r  r 


T.   M.  V.>l.   Ill 


298 

Matthias  Keller 
Maestoso 


The  American  Hymn 

(Book  Three, p.202) 


Matthias  Keller 


^^^hl^4 


i 


^^-J-J 


"TTt^TT^ 


3E 


1.  Speed 

2.  Fore 

3.  Faith 

4.  Rise 

J 


T==r 


our  Re 

most  in 

ful  and 

up,  proud 


^ 


I      i    i 


pub  -  lie, 
bat  -  tie 
hon  -  est 
ea    -    g-le, 

i    J. 


M  f  r  f- 


0 

for 

to 

rise 

i 


Fa    -  ther  on 

frcp  -  dom  to 

friend  and  to 

up  to  the 


i=J= 


high  I 
stand, 
foe, 
clouds ! 

i 


^-M^-^4J 


r=*=^^ 


^ 


W 


,j  J  I  J 


r=f 


^ 


T=r 


Lead 

We 

WiU 


us  in 
rush  to 
ing:     to 


Spread       thy    broad 


^ 


i 


path    -  ways  of 

arms  —  w-hen  a 

die in  hu 

wins-s  o'er  this 


jus      -  tice    and 

roused  by     its 

man     -  i    -    (y's 

fair  wes  -  tern 

i 


'i  r 

right! 
caJJ; 
cause, 
world ! 


J  J  .  .1 


II     r  r  I  i-f  ^w^ 


$ 


n 


f 


r^ 


well  —        as       the  ruled 

yore  —    when  George  Wash 

fy alJ       ty     -  ran 

beaJt—        our     detir  baji 

^cresc.  ^      J.  ^ 


one 
ing 
ni   - 
ner 


and 
ton 
cal 
of 


aU, 
led, 
pow'r, 
old! 


i    J-    A 


\i'  iL,  1,1 ;  I  r 


299 


^ 


3^ 


^■^ 


Haul'  three    times 

Hail'  three    times 

Hail'  three    times 

Hail'  three   times 


hail  ^ 
hail, 
hail- 
hail. 


to 
to 
to 
to 


Our 
our 
our 
our 


coun 
coun 
coun 
cOun 


try  diid 

try  and 

try  and 

try  ajid 


n''t'    f  r  I  ^~^m 


^i  4  J  .  ^  -LJ- 


r 

nag' 
flag:! 
flag! 
flaff! 


^ 


r    r  p 


JS^ 


^^ 


JL 


^ 


f=f 


T^rf 


Rul     -  ers     as 

StiU,  as       of 

Thus  we      de 

Fling  from  thy 


well—  as      the  ruled.  one     and 

yore  when  George  Wash    -  ing  -  ton 

fy  —  aJl      ty     -  ran      -  ni  -   cal 

beak  our  dear  ban     -  nor     of 


all, 
led. 


powr. 
old! 


^ 


3^ 


M 


i—  i  i    i    TT  A 


''    r  ri  r-r  r  ^'  if  f  ;af 


^ 


:^ 


^ 


^ 


r  7  r '  r     r  r    f   r  ^     i 


Gir     -  die  with 

Thun   -  ders  our 

While  we  con 

Show  that  it 

i  i  J 


VI  r 
war 
tend 
still 


tue  the 
cry,  "Wo 
for  our 
is       for 


mor      of 
quer     or 


ar 

con 

Un     -     ion      and 

free   -  dom      un 


might! 
fall!" 
laws ! 
furlJi! 


S 


^^ 


J      J  J  .  J    i-  ^  ,  4i 


m 


«=♦ 


=FT 


f^ 


•  ■*- 


jd 


I  I  hn  ! 


m 


s 


r=^ 


-pr 


Hail!  three  times 

Hail!  three  times 

Hail'  three  times 

Hail'  three  times 


hail 
hail 
hail 
hail 


^ 


m4 


to 
to 
to 
to 

i 


our 
our 
our 

our 


coun 
coun 
coun 
coun 


r 

try 

«ry 

try 
try 


J    .    J J. 


and 
and 
and 
and 

S 


flag:' 
fla^! 
flag! 
fla?' 


300 


The  Star-Spangled  Banner 


Francis  Scott  Key 


m 


^ 


(Book  Three, p. 204) 


>=-h- 


John  Stafford  Smith 


i 


^ 


Tt.~-T; 


^ 


r=Psr^=TT 


1. 

2. 
3. 

4.. 


Oh, 
On    the 

And 

Oh 


r 

say,    can     you 
shore,  dim  -  ly 
where  is       that 
thus     be       it 


see, 
seen 
band , 
e'er 


by  the 
thro'  the 
who    so 

when 


dawn's   ear  -  ly         lig-ht.What     so 
mists     of      the       deep,  Where  the 
vaun  -  ting--ly         swore    That     the 
free  -   men  shaJJ  stand  Be    - 


J    ^    i      J 


-'n'''/  F-p  I  r    L^ 


tt 


J    J   J  ,  J 


ii^A- 


m 


^^ 


^,^''  j  j  J 


i'     "P  ^  r  r'  ^  '  ff 


^^ 


^ 


r=f 


r 


gleaim  -  ing?Whose  broad 
pos  -  es.    What      is 

fu    -    sion      A 

la    -    tion!  Blest    with 

1     J     ^^^ 


proud  -  ly  we 
foe'6  haug-h  -  ty 
hav  -  oc  of 
tween  their  loved 


hailed 
host 
war 
homes 


J     J     J   .   i 


at      the 
in     dread 
and   the 
and    the 


twi  -  light's    last 
si  -   lence     re 
bat  -  tie's       con 
war's    des  -  o 


jLj 


=J= 


^ 


^F^ 


^ 


f= 


-/^ 

=^i=^ 

1 

^ \— 

-   f  f 

stripes    a: 

that    whi 

home       aji 

i              vie   -    t'r 

d 

ch 
d 

y 

r 

brigtit 
the 
a 
and 

■J 

stars, 
breeze, 
coun 
peace, 

P     P 

through  the 
o'er     the 
try    should 
may    the 

r  r 

per  -   il 
tow  -   e 
leave    u 
heav'n-r 

r  - 
s 

es  - 

01 

in 

n 

CL 

S 

S 

0 

ed 

H 

r 
tight, 

steep, 
more" 
land 

O'er    the 
As      It 
Their 
Praise  the 

P^ 


.     '     r    I    I         5    P    I   >    r    p    I    r       s^^ 


f= 


P^^^ 


nh^ 

J    J    J    1 

K    j)     1 

=^h 

p= 

-" • 

^  ^  r  ^ 

rcim  -  parts    we 
fit  -  ful   -    ly 
blood  has    washed 
Pow'r  that      has 

J     J     J 

watched, 
blows, 
out 

made 

1 

(9 

^i  i  — 

'^  P 

were    so 
half    con     - 
their   foul 
and     pre    - 

f f ' 

■ 

g-al   -  Ian 
ceals,  half 
foot  -  steps' 
served     us 

^         pi 

tiy 

dis 

pol 
a 

— J 

stre£im 
clos  - 
lu    - 
na  - 

1 

.0 

-  ing-?And   the 
es?    Now    it 

tion.    No 

tion!    Then 

^  r^ 

P        ^ 

m 1 

—m— — t *: 

1^/  n  \  I 


h'  If  I  h  I    ^4 


.?01 


rock  -  ets'  red 

catch  -  es  the 

ref    -    uge  could 

con   -    quer  we 


1    i 


■)■■<>  c   r 


i 


the  bombs  burs   -  ting  in 

of      the  morn  ■   ingr's  first 

the hire  -   ling-  and 

when  our  cause       it  is 


>V  i  1  i 


air,  Gave 

beam ,  In       full 

slave  From   the 

just;  And 


fc£ 


m 


J  J  I  j-j 


i 


^j  I J 


CHORUS 


^ 


r    r     r-r   '^^  '  ^   ^  ^f  '  f     ^^'^ 


pro0f  thro'  the 

glo    -  ry  re 

ter    -  ror  of 

this  be  our 


night that    our  flag-  »i'as  still 

flee  -   ted        now shines  on  the 

flight or      the  gloom  of  the 

mot  -   to:      "'In God  is  our 


there.  Oh 

strecun .  'Tis    the 

grave .  And  the 

trust!"  And   the 


^^ 


^  4  J  ,  4-4  ^-\  J  j  J  ^ 


b-h 


m 


r  '-^  I  r  '  ^ 


^ 


l^'  J   J  n 


J  On\  J 


J  ii  ji 


? 


r    r   r    '  f   r    t  '  r    r    r 


Ff 


S 


say,  does  that 
star-  span  -  gled 
star  -  span  -  gled 
star  -  span  -  gled 


star  ■  span  -  gled 
ban  -    ner,       oh , 
ban  -  ner        in 
ban  -   ner        in 


ban  -    ner  yet  wave Oer   the 

long     may  it —  wave O'er  the 

tri  -    umph  doth  wave O'er  the 

tri   -    umph  shall  wave O'er  the 


r   r  r    '  r  r   r  '  r  is^^T^ 


^ 


^^ 


4- 


h  J  I  J.     i*  J 


i 


r 


p  p  ^  r    ^p  p  '  r-    P  r 


^ 


land 

land  . 
land  . 
land  . 


of  the 

of  the 

of  the 

of  the 


free 
free 
free 
free 


and  the 

and  the 

and  the 

and  the 


home 
home 
home 
home 


of  the 

of  the 

of  the 

of  the 


J.--  P  >  X      i 


^ 


M 


J.  ii 


brave? 
brave .' 
brave  1 
brave! 


i 


^ 


^ 


f 


302 

Samuel  F.  Smith 


America 

(Book  Three.p. 206) 


Henry  Carey 


r^ 

-H 

^ — i — 

=fi= 

=t=] 

F=#= 

=t= 

J 

^j,L^ 

w 

» 

r 

W^ 

-t~ 

-f-^ 

^—h- 

P 

-^ 

1. 

My 

coun 

■     IT. 

'tis 

of 

thee. 

Sweet 

land 

of 

•} 

Mv 

na 

tive 

coun 

•     try. 

thee. 

Land 

of 

the 

3. 

Let 

mu 

SIC 

swell 

the 

breeze, 

And 

ring- 

from 

4. 

Our 

fa      - 

thers' 

God, 

to 

Thee, 

Au      - 

thor 

of 

O!  8  ■■{ 

-f- 

~f- 

i 

1 

^ 

^. 

^; 

J 

-     4 

-1 

\ 

p 

\h- 

■ 

^ 


^* 


(  t  f 

Of  thee  I 

Thy  name  I 

Sweet  Free   -  dom's 

To  Thee  we 


^ 


lib 
no 
aU 


T 


er   -  ty, 

ble  free, 

the  trees 

er  -  ty, 


^    J        i     J      j 


sing-; 
love ; 
song:  •" 

sing-: 


LcLnd      where      my 
I  love       thy 

Let 

may 


Long: 


tal 
our 


I 


1 


^^ 


r    r    r 


i'/    ■  M  /    /    /^^^ 


fa       -  thers  died, 

rocks  and  rills, 

tongues         a    ■  Wcike, 

lajid  be  bright 

X  i  1 


gaE^ 


Land 

Thy 

Let 

ith 


I 


of 

woods 
all 
Free 

1 


the 
and 
that 
dom's 


i 

m 


pii   - 

tem     - 
broathe 
ho 

I 


grims'    pride, 
pled       hills ; 
par  -  take, 
ly        light ; 

Ji    1 


^ 


tfc 


f    p  r 


i'    i^P'i' 


^^ 


i# 


f=f 


From 
My 
Let 
Pro 


ev      -       ry 

heart        with— 
rocks        their- 


tect 


us. 


moun  -  tain  side  Let free  -  dom 

rap  -    ture  thrills  Like that  a 

si    -     lence  break  The —  sound  pro 

by        Thy  mig^ht.  Great-  God,  our 


ring-, 
bove  . 
long. 
Kinff. 


GLOSSARY 


Accelerando,  accel.  (It.)  (iit-slu'l-or-cri/i-do). 
Acicicnitin;;  the  tempo. 

Adagio  (It.)  (a-(/a-jio).     Slow. 

Allargando  (It.)  (ji-liir-jdn-do).  (irowiiij; 
liroader,  i.e.,  slower  and  loiulei-. 

Allegretto  (It.)  (al-luy-c/n'f-to).  Diiniiui- 
tive  of  allegro,  .slower  than  allegro. 

Allegro  (It.)  (aWa;y-g;ro) .     Quick,  lively. 

Andante  (It.)  (aii-£/a/i-te).  Literally,  "  walk- 
iiifi;."     In  leisurely  tempo. 

Andante  con  moto.  Soniewliat  slowly,  Imt 
with  animation. 

Andantino  (It.)  (an-dan-<f-no).  Diminu- 
tive  of  andante.  Strictly  .speaking,  faster 
than  andante,  although  sometimes  em- 
ployed to  indicate  a  xlower  movement. 

Animato  (It.)   (an-e-j/io-to).     1  Animated, 

Anime  (Fr.)  (an-e-»w).  J    lively. 

Appassionata,  appas.  (It.)  (iip-piis-se-o- 
lui-tii).     With  intense  emotion. 

Assez  (Fr.)  (:ls-so(/).  Enough,  rather, 
somewhat. 

Ben  (It.)  (ban).     Well,  good,  very. 

Brace.  Tlie  two  or  more  staves  containing 
parts  to  he  sounded  together,  also  the 
vertical  line  connecting  such  staves. 

Breath  mark.  A  comma  placed  above  the 
staif  to  indicate  that  a  breath  slnnild  lie 
taken  at  that  point. 

Brio  (It.)  {bre-6).     Vigor. 

Canon.  A  form  of  composition  in  which  a 
melody,  sung  by  one  voice,  is  imitated 
exactly  by  one  or  more  other  voices,  fol- 
lowing at  a  time  distance  of  one  or  two 
measures.  The  imitation  may  enter  upon 
the  same  pitch,  or  at  any  interval  above 
or  below  the  first  voice. 

Calando  (It.)  (kti-ten-do).  Growing  softer 
and  slower. 

Cantabile  (It.)  (kan-^i-bi-lc).  In  a  singing 
style. 

Canto  (It.)  (A'o/i-to).      Melody;   the  voice. 

Col,  Coll  (It.),      With  the. 

Con  (It.)  (ki'm).      With. 

Crescendo,  cresc,  cres.  (It.)  (kr6-.s/(c/(-do). 
Increasing  the  power  of  the  tone. 


Da  Capo,  D.  C.  (It.)  (da  A-a-po).  I'roni  the 
beginning. 

Dal  Segno.     See  Segno. 

Deciso  (It.)  (da-is/ie-so).     Boldly,  decidedly. 

Diminuendo,  dim.  (It.)  (de-me-noo-<"«-do) 
(3==-).  Diminishing  the  power  of  the 
tone. 

Dolce  (It.)  ((/(5/-tshe).     Sweetly. 

Doloroso  (It.)  (do-lo-co-ao).      Dolorously. 

Double  Flat  (!^).  A  character  which, 
placed  on  a  staff  degree,  indicates  a  pitc^li 
two  half-steps  lower  than  the  degree  in- 
dicates when  not  affected  l>y  a  chronnitic 
sign. 

Double  Sharp  (Xl-  A  character  which, 
placed  (jn  a  >itaff  degree,  indicates  a  pitch 
two  half-steps  higher  thaji  the  <legree  in- 
dicates when  not  affected  l)y  a  chromatic 
sign. 

E,  Ed  (It.).      And. 

Espressivo,  espress.  (It.)  (es-pres-.sr-vO). 
With  expression. 

Espressione,  espress.  (It.)  (Ps-pres-se-o- 
ne).     E.xpression,  feeling. 

Fine  (It.)  (/c-nay).      The  end. 

Flat  (''j.  A  character  which  causes  a  staff 
degree  to  represent  a  pitcli  one  half-step 
lower. 

Forte,  /.  (It.)  (/(5r-te).  Loud.  Fortissimo, 
ff.  (It.)  (f6r-n.s-sI-mo).      \'ery  loud. 

Fuoco  (It.)  (foo-ci-co).     Fire. 

Giocoso  (It.)  (je-o-^o-so).     .locosely. 

Grazia  (It.)  (gra-tse-ii).     (Jrace,  elegance. 

Grazioso  (It.)  (grii-tse-o-zo).     Gracefully. 

Hold  (^).  .\  sign  indicating  that  the  tone 
is  to  be  sustained  beyond  its  regular  value. 

Interval.  The  pitch  relationship  of  two 
tones. 

Largo  (It.)  (ter-go).  Shjw.  Larghetto  (It.) 
{Uir-gSt-io) .     Not  quite  as  slow  as  largo. 

Legato  (It.)  (lC-(;o-to).  Sustained,  smoothly. 

Leggiero,  legg.  (It.)  (led-je-d-ro).  Liglit, 
nimble. 

Lento  (It.)  {len-to).     Slow. 

Ma  (It.)  (ma).     But. 


r.(Xi 


3«4 


GLOS.SARY 


Ma  non  troppo  (It.)  (ma  n6n  trop-po).     But 

not  too  much. 
Maestoso  (It.)  (ma-§s-io-zo).     Majestic. 
Marcato  (It.)  (miir-ia-to).     Empliasized. 
Marcia  (It.)  (mdc-tshe-a).     A  nuiruh. 


Mazurka.  A  lively  Polish  dance  in  triple 
rhythm.  Tempo  di  Mazurka.  In  the 
time  of  a  Mazurka. 

Metronome  mark.  A  metronome  is  an 
instrument  which  ticks  a  given  number  of 
beats  per  minute.  The  mark  "  M.M.  J  = 
100"  indicates  that  the  weight  should  he 
set  at  the  point  on  the  pendulum  marked 
100,  and  the  instrument  will  then  register 
one  hundred  ticks  per  minute. 

Mezzo,  m.  (It.)  (»»e/-s6).  Half,  medium. 
Mezzo  forte,  mf.  Half  loud.  Mezzo 
piano,  mp.     Half  soft. 

Minor.     See  pages  67  and  73. 

Minuetto  (It.)  (me-noo-e^to).  Minuet.  A 
graceful  dance  in  triple  rhythm. 

Moderato  (It.)  (m6d-e-m-to).  In  moderate 
tempo. 

Modulation.     See  pages  78  and  11 4. 

Molto  (It.)  (mol-to).     Much. 

Morendo  (It.)  (mo-ren-do).     Dying  away. 

Moto  (It.)  (wo-to).  Motion.  Con  mote, 
_  with  motion,  quickly. 

Natural  (sometimes  called  "  cancel  ")  C). 
A  character  used  to  contradict  a  sharp  or  a 
flat. 

Non  (It.).     Not. 

Pateti'co  (It.)  (pa-<e-te-ko).     Pathetic. 

Pedale,  ped.  (It.).  The  pedal  of  the  piano- 
forte. Con  pedale,  or  con  ped.  indicates 
that  the  pedals  are  to  be  used.  The  sign 
Ped.  means  that  the  right-hand  pedal  is 
to  be  pressed  by  the  foot,  and  at  the  sign 
*  the  pedal  is  to  be  released. 

Perdendosi  (It.)  (par-de?(-do-ze).  Gradu- 
ally decreasing  in  tone  and  time. 

Pesante  (It.)  {pe-zdn-te) .     Ponderous. 

Piano,/).  (It.)  (pe-o-no).  Soft.  Pianissimo, 
pp.  (It.)  (pe-an-fa-sl-mo) .     Very  soft. 

Piu  (It.)  (pe-00).  More.  Piu  lento,  more 
slowly.     Piu  vivo,  more  quickly. 

Pochiso  (It.)  (po-fce-so).     A  very  little. 

Poco  (It.)  (po-ko).  Little.  Poco  a  poco, 
little  by  little. 

Presto  (It.)  (prSs-to).     Very  quickly. 


Rallentando,  rail.  (It.)  (ral-16n-<drt-do).  Be- 
coming slower. 

Ritardando,  ritard.,  rit.  (It.)  (ri-tar-(/«/(-do). 
(iradually  becoming  slower. 

Ritenuto  (It.)  (re-t6-)ioo-to).     Held  back. 

Round.  .V  .species  of  canon  in  the  unison 
or  oc;tavc,  in  two  or  more  parts,  the  per- 
formers singing  each  part  in  succession. 

Scherzando  (It.)  {aker-t.sdn-do).     Playful. 

Segno  (It.)  (.sert-yo).  A  sign  (;t(:).  Dal 
Segno,  D.  S.,  return  to  the  sign. 

Semplice  (It.)  (sem-ple-tshe).     Simply. 

Sempre  (It.)  (s^m-pre).     Continually. 

Sforzando,  sfz.,  sf.  (It.)  (sf6r-teri((-do).  Ac- 
cented. 

Sharp  (*).  A  character  which  causes  a 
staff  degree  to  represent  a  pitch  one  half- 
step  higher. 

Simile  (It.)  (.se-me-le).     Similarly. 

Slur.  In  vocal  music,  a  curved  line  con- 
necting two  or  more  notes,  indicating  that 
they  are  to  be  sung  to  one  syllable. 

Sostenuto  (It.)  (sos-te-»oo-to).     Sustained. 

Sotto  voce  (It.)  (sot-to  vo-tshe).  In  an 
undertone. 

Spirito  (It.)  (spe-rl-to).     Spirit,  energy. 

Staccato  (It.)  (stak-^-d-to) .     Detached. 

Stringendo,  string.  (It.)  (stven-gen-do). 
Hastening  or  crowding  the  tempo. 

Swell  (-=r;).  Increasing  the  volume  of 
sound. 

Symphony.  A  composition  of  several  con- 
trasting movements,  for  full  orchestra. 

Tempo  (It.)  (/c//i.-po).  Literally,  "  time." 
The  rate  of  speed  with  which  the  natural 
accents  in  music  follow  each  other.  A 
tempo,  in  time.  Tempo  di  Minuetto,  in 
the  time  of  the  Minuet.  Tempo  di 
Marcia,  in  the  time  of  the  March. 
Tempo  di  Valse,  in  the  time  of  the  Waltz. 

Tenuto,  ten.  (It.)  (ta-raoo-to).     Sustained. 

Theme.  A  theme  in  music  is  a  complete 
musical  idea  from  which  an  extended  com- 
position may  be  developed. 

Tie.  A  curved  line  connecting  two  notes 
of  the  same  pitch,  indicating  a  tone  the 
length  of  their  combined  values. 

Tranquillo  (It.)  (tran-gueWo).     Tranquilly. 

Troppo  (It.)  (Jro-po).     Too  much. 

Valse  (Fr.)  (vals).     A  waltz. 

Vivace  (It.)  (ve-vd-tshS).     Vivaciously. 

Vivo  (It.)  (ve-vo).     Lively,  brisk. 


INDEX    OF    SONGS 


Title 

AH  That's  tkiod  and  Great 

Aiufrirji 

Ai«orii-un  Hvmn.  Tlio 

April  Folk.   Thi- 

At  the  Forge     . 
*At  the  Window 

Autiimn  Holida.\- 
*Aiituma  Song  . 


♦Buck  of  the  Bread 
Beneath  the  Lilies 
Bird  Catcher.  The 

*Bluehird.s,  The 
Bosnian  Shepherd^ 
Bo.ra'  Song.  The   . 
Brave  of  Heart 


Chiliiren'.s  H\'nin 
♦Child's  Fanc.v.  A  , 
Cinderella     .     .     . 
CUxug!  Clang!  Clang 
Come.  Dance  with  Me 
Come  Lassies  and  Lads 
Come.  Thou  Almighty 
*Comet.  The       .     .     . 
Cossack  Song    .     .     . 
Cradle  Song      .     .     . 


*Daffydowndilly    . 
*Dance  of  the  Fairies, 

Dancing  .Song  in  May 
♦Dandelions,  The  .     . 

Distant  Sweden  .  . 
*Dragon  Flies  .  .  . 
*Dream  and  Snowfiake 


The 


End  of  Summer 
Evening  Hvnin 
Exiles,  The  .     . 


Faithful  Friends  .     . 

Father  and  Friend    . 

Fisherman's  Prayer.  T 

Flowery  Omens    .     . 
♦Fountain.  The       .     . 

Fountain  and  the  Bird; 
♦Friends 

Frost.  The    .... 


Gay  Lie.se  1  .  .  . 
Glas-sy  Lake  .  . 
*Green  World,  The 
Greeting  .... 
Gypsy  Dance.  The 


Halloween     .... 

Happy  Autumn  Days 
♦Harvest  Slumber  Song 

He  Shall  Feed  His  Flo. 

Hillside,  The    . 
♦Hymn,  A       .     . 


In  Autumn  .... 
In  Life  if  Love  We  Know 
In  Ocean  Cave  .  . 
In  the  Kists  .... 
Integer  Vitae  .  .  . 
It  Was  a  Lover     .     . 


•  T.  M 


King 


he 


ck 


ot 


.Vutlior  or  Source 
Godfrc.v  Thring  .  .  . 
Samuel  F.  Smith  .  .  . 
Matthias  Keller  .  .  . 
M.  Louise  Baum  .  .  . 
^^\\-m()ur  Barnard  .  .  . 
Maurii'c  Thompson  .  . 
.\bi)ie  Farwell  Brown 
Richard  Watson  Dixon  . 


Composer  or  Source 


Kate  Greenaway 
Virginia  Baker  . 
George  Coojier  . 


.Seymour  Barnard 


Mrs.  M.  L.  Duncan  . 
Miriam  S.  Clark  .  . 
Alice  E.  SoUitt  .  .  . 
Abhie  p^irwell  Brown 
Alice  C.  D.  Riley  .  . 
From  The  Weslminstcr 


Ohver  Wendell  Holmes 
Seymour  Barnard  .     . 
Claudius 


Horatio  Parker 292 

John  E.  West 272 

French  Folk  Song 137 

Allyre  Bureau ICiO 

Neapolitan  Folk  Song     .     .     .  270 

Drollery  English  Folk  Song 1 59 

F.  de  Giardini 292 

Margaret  Riithven  Lang     .     .  192 
Russian  Folk  Song                 .     .ISO 

Franz  Schubert 194 


Mary  Wilder  Pease  .  . 
Ella  Broes  van  Heekern 
Hoffman  von  Fallerslcben 
Helen  Gray  Cone  .  .  . 
Louise  M.  Bray  .  .  . 
Ma.v  Morgan  .... 
William  S.  Lord     .     .     . 


George  Jay  Smith  . 
Nellie  Poorn^an 
Ethel  B.  Howard  . 


Margaret  Aliona  Dole 
John  Bowring  .  .  . 
Louise  M.  Bray      .     . 


James  Rus.-sell  D^wcll 
Etiiel  B.  Howard  .  . 
Abbie  Farwell  Brown 
Nathan  Haskell  Dole 


AUce  C.  D.  Riley  .     .     . 
Nathan  Haskell  Dole 
Annie  Willis  McCullougli 
Maud  Wilder  Goodwin  . 
Virginia  Baker  .... 


Ethel  B.  Howard  ... 
Virginia  Baker  .... 
William  Wilfred  Campbell 
From  The  Messiah  .  . 
Ethel  B.  Howard  .  .  . 
Laura  E.  Richards 


M.  Louise  Baum    .     .     . 
Friedrich  V.  Bodenstedt 
Ali<'e  C.  D.  Riley  .     .     . 
Se,\'mour  Barnard  . 
.\rthur  Tozer  Russell 
William  Shakespeare 

'  refers  to  Teacher's  Manual.  Volume  III,  "  Bk.  Ill 

305 


Henry  Curey  .... 
Matthias  Keller .  .  . 
Miix  Brucli      .... 

V.  Mir>' 

Frank  van  der  .Stucken 
Welsh  Melody  .  .  . 
Jean  Sibelius  .... 


Peter  Christian  Lutkin 
Horatio  Parker  .  .  . 
W.  A.  Mozart  .  .  . 
M.vles  B.  Foster      .     . 

Folk  Song 797 

Georges  Bizet 267 

Ancient  Dalccarlian  March     .  196 


Pane 
2'.)f> 

:jo2 

29H 
217 
204 
144 
125 
•231 


.  1.S7 

.  2.54 

.  206 

213 


Margaret  Kuthven  Lang     .     .120 

E.  R.  Kroeger 171 

Robert  Franz 1 50 

George  W.  Chadwick  ....  190 
Swedish  Folk  Song  .  .  .  .130 
Peter  Christian  Lutkin  .  .  .  2(11 
Maurice  Moszkowski  ....  200 


Rk. 
Ill 

199 

206 

202 

106 

94 

26 

s 

181 

62 
152 

95 
102 

89 
164 

88 

195 

170 
21 
38 

168 
37 

193 
76 
56 
87 

12 
49 
31 
68 
12 
153 
91 


MaxBruch 235  132 

J.  Neander 173  52 

Hebrew  Melody 229  127 

Joseph  Gersbach 155  38 

Horatio  Parker 179  54 

A.  M.  Myrberg 168  47 

Anton  Dvorak 238  137 

Hugo  Kaun 25(>  154 

Swedish  Folk  Song      ....   186  62 

Mrs.  H.  H.  A.  Beach  ....  224  124 

Russian  Folk  Song 139  23 

Karl  WahKstedt 219  108 

Folk   Sons 20!)  39 

Vincent  d'Indy 282  174 

Felix  Mendelssohn-Bartholdy.  276  171 

Gypsy  Melody 147  28 


Catharina  van  Renues    .     .     .  156 

French  Folk  Song 143 

E.  Humperdinck 248 

George  Frederick  Handel  .  .  289 
Felix  Mendelssohn-Barthf)ldy  226 
Horatio  Parker 172 


Attributed  to  Stradella    .     .     .140 

Carl  Reineckc 284 

Swedish  Folk  Song  ....  198 
.\ncicnt  Gaelic  Song  ....  ISl 
Friedrich  Ferdinanfl  Flemming  293 
Thomas  Morley 207 


to  Book  Three. 


34 

27 

147 

192 

118 

48 

23 
181 

90 

60 
196 

98 


300 


Title 

*.I:uk  I''rost    .... 

*JinKlt*,  .lingle    .     .     . 

^oy  of  Harvest.  The 

Joys  of  Summer.  The 


Kathleen  .\roon 


Lad.vbird 

♦Lavenfloi'  Ht'ds,  The      .     . 

1x^:1(1.  Kindly  Lii^ht  .     .     . 

Lincohisliire  Poacher.  The 
♦Listi'iiiiit^  Woods.  The  .  . 
*Lull:il>y 


Maid  and  the  Brook.  The 
Mandolin  Song     .     .     , 
.Maypole,  The  .... 

*Mcadow.  Tho  .... 
Milking  Time  .... 
Minuet.  The     .... 

*MorninK 

*Morning  .Song,  .\  .     .     . 

*M.v  Betltime  .  .  .  , 
My  Boini.v  Pipes  .     .     . 


Naples 

National  H.\'nin 
Naught.v  Lisettp  .  .  , 
*Near  .\utiinin  ... 
Nightingale.  The  . 
Nightingale.  Sweet  .Nightingale 
Now  with  Creation's  Morning 
Song 


Oh.  Worship  the  King 

♦October  Song    . 
Old  .\pple  Tree.  The 
On  the  Ling,  Ho  ! 

*Owl,  The      .     .     . 


Passing  of  Summer, 
Past  Three  O'clock' 

♦Patriotic  Hvinn    . 
Pearl.  The    .     .     . 

*Pippa's  Song  .  . 
Portuguese  H.vmn 
Pouts  and  Smiles 
Praise  to  God  .  . 
Prince  Baby  .  . 
/  Punchinello .     .     . 


Race,  The     .     . 

Remembrance  Boucpiet 
♦River  Path,  The  . 

Robin  Cioodfellow 
♦Robin  Redbreast 
♦Robin  Redbreast  Told  Me 


The 


^'he 


/ 


Sailor's  Life,  A      ,     ,     . 

Sandman.  The  .  .  . 
♦Sea  Princess,  The  .  . 
♦.Seven  Swan  Ladies,  The 

Singers  of  the  Sea.  The 

Sleep,  My  Child   .     . 

SnowJBakes,  The  .  . 
♦So  Ignorant  .  .  . 
♦Song  for  Hal,  A  .  . 
♦Song  of  the  Winds    . 

Southland,  The     .     . 

Spring's  Messenger  . 

Squirrels,  The  .     .     . 

Star-Spangled  Banner, 
♦Suggestion,  A  .     .     . 

Summer's  Done  .  . 
♦.Summer's  Good-by  . 

Swallow.  Swallow  . 
♦Swing,  The  .... 


The 


INDEX   OF   SONGS 


.■\utiior  or  Source 
Kate  Louise  Brown 
Lee  Burns      ... 
Henry  .\lford     .     .     . 
Miriam  Clark  Potter 

Mrs.  Crawford  .     . 


William  Brighty  Rands 
.John  Henr.N'  Newman 
Tratlitinfuil     .... 
Ida  Whipple  Benham 
Fraitk  Dempster  Shenn 

Frederick  H.  Martens 
.\bbie  Farwell  Brown 

Tradifionat  .... 
Minnie  Leona  ITpton 
Margaret  .\liona  Dole 


John  Fletcher  .  .  . 
.A.nna  M.  Pratt  .  .  . 
May  Elizabeth  White 
Alice  C.  D.  Riley  .     . 


.\bbie  Farwell  Brown 
D.  C.  Roberts  .  .  . 
.\bbie  Farwell  Bnjwn 
L.aurence  Alma-Tadema 
Traditi/iual  .... 
J.  S.  Stallybrass     .     , 


Ilk. 

T.  M, 

Ill 

Composer  or  Source 

Pilgc 

PHIfl^ 

H.  Clough-Leighter     .     . 

.     .  264 

Kil' 

Harvev  B.  Gaul       .     .     . 

.     .   157 

AH 

George  .1.  101  ve v.     .     .     . 

.     .  295 

lils 

('atharina  van  Reiines 

.     .  2f<:j 

1«5 

Franz  .Vl)t 


18U 


Robert  Schumann 275 

Frank  van  der  Stucken    .     .     .  246 

John  B.  Dykes 178 

English  Folk  Song 182 

Rudolph  Ganz 158 

Charles  Villiers  .Stanford      .     .  25S 

Russian  Folk  Song 1 12 

Spanish  Folk  .Song 15S 

English  Folk  Song 1.3S 

Howard  Brock  way 132 

Norwegian  Folk  Song      .     .     .   I'S'.i 

W.  A.  Mozart 195 

Arthur  Farwell 252 

Ermanno  Wolf-Ferrari    .     .     .  265 

Horatio  Parker 224 

Scotch  Folk  Song 142 

Italian  Folk  Song 162 

Horatio  Parker 1 77 

French  Folk  Song 17(1 

Horatio  Parker 163 

English  Folk  Song 184 

Russian  Folk  Song 203 


Aurelius  Clemens  Prudentius     Ludwig  van  Beethoven 


Robert  Grant     .... 
Frank  Walcott  Hutt  .     . 
Nathan  Haskell  Dole 
Bjornstjerne  Bjornson    . 
Laurence  Alma-Tadema 


Alice  C,  D.  Riley   .     . 
James  Fortescue     .     . 
May  Morgan      .     .     . 
M.  Louise  Baum    . 
Robert  Browning  . 
James  Montgomery   . 
Nathan  Haskell  Dole 
Anna  L.  Barbauld 
Louise  Stickne.v      .     . 
Abbie  Farwell  Brown 


May  Morgan  .  .  . 
M .  Louise  Baum  .  , 
John  Greenleaf  Whittier 


William  Allingham 
George  Cooper  .     . 


Nellie  Poorman 
Genevieve  Fo.\  . 


Richard  .Aldington 
Josephine  Pollard  .     . 
Ann  Underbill    .     .     . 
Wilbur  Weeks    .     .     . 
Eunice  Ward      .     .     . 
Laura  E.  Richards 
May  Morgan      .     .     . 
Margaret  Aliona  Dole 
Hoffman  von  Fallersleben 
Nathan  Haskell  Dole 
Francis  Scott  Key 
Mary  Mapes  Dodge  . 
May  Morgan      ... 
Elsie  Cobb     .... 
Alice  E.  Sollitt  ... 
Robert  Louis  Stevenson 


Neapolitan  Folk  Song      .     .     .  154 

English  Folk  Song 123 

W.  Otto  Miessner 186 

Franz  Joseph  Haydn  .     .     .     .121 
William  G.  Hammond     .     .     .232 

John  Reading  ( '? ) 294 

Catharina  van  Rennes     .     .     .  277 

Conrad  Kbcher 297 

aC.  Boivie 14s 

French  Folk  Song 22(1 


A.  Danhau.ser 136 

Neapolitan  Folk  Song  .  .  .  146 
George  W.  Chadwick  .  .  .  .128 
.\ncient  English  Song      .     .     .   167 

Fr.  Gernsheim 228 

Julius  Rontgea 220 


Hendrika  van  Tussenbroek 
Catharina  van  Rennes 
Max  Bruch      .... 
Walter  Morse  Ruminel 
English  Folk  Song  .     . 


Neapolitan  Song  . 
Horatio  Parker  .  . 
Daniel  Protheroe  . 
W.  Otto  Miessner  . 
W.  A.  Mozart  .  . 
Robert  Schumann  . 

Folk  Song 

John  Stafford  .Smitli 
Homer  N.  Bartlett 
Norwegian  Folk  Song 
Reginald  de  Koven 
Franz  Joseph  Haydn 
Julius  Rontgen   .     . 


222 
'.  230 
.  240 
.  174 
.  182 
203 
.  164 
.  148 
.  234 
.  188 
.  262 
.  223 
227 
.  300 
.  278 
.  140 
.  242 
.  124 
.  280 


1G3 

145 

53 

57 

36 

156 

25 

32 

22 

13 

15 

88 

150 

169 

116 

24 

40 
52 
46 
42 
59 
93 


29(1       197 


Franz  Joseph  Havdn  ....  296  200 

Rudolph  Ganz 237  149 

Folk  Song 1S1  58 

Halfdan  Kjerulf 101  39 

Granville  Bantock 134  16 


33 
6 

61 
5 
129 
194 
173 
201 

30 
109 

17 
28 
11 
45 
119 
114 

115 

128 

138 

50 

56 

S2 

41 

30 

134 

63 

158 

117 

125 

204 

175 

24 

139 

7 

178 


INDEX   OP   SON(;s 


Title 
To  the  River    .     .     . 

♦Travel 

*Tro<>-Toi>  Duet,  A     . 

*lVee-Top  M<)rniiij»s. 
Trout,  The  .     .     .     , 


Welcome  to  Atitumn 

Well  Met,  Well  Met 
*Wliat  I  Love    .     .     . 
*\Vhen  I  Co  Out  on  My 
*W1rt(>  Co  the  Winds 
*Wi.i(l,  The    .... 

A\"inter  Clouils      .     . 

Winter  Longins;   .     . 
♦Word.  A 


heel 


.\utlior  or  .Source 
8u.san  Jewett  .... 
Robert  Louis  Stevenson 


Ethchvvn  Wetherald 
A.  J.  Foxwell     .     .     . 


Pauline  Frances  ( 'ami 
Traditional     .    .     . 


A.  .1.  Waterhousc  , 

Martha  Hanlej- 
Robert  Louis  Stevenson 
Mar*;aret  Aliona  Dole 
.\bl)ie  FarwcU  Brown 
May  Morgan      .     .     . 


Ye  Olden  Christmas 


f'ompo.scr  or  Sdurec 
LudwiK  van  Ucethoven  . 
Daniel  Protheroe  .  .  . 
Marshall  Hartholomew  . 
Peter  Christian  Lot  kin  . 
Fran/.  Schubert  .     .     .     . 


T.  .M. 
Page 
.  1122 
.  210 
.  176 
.  UiC, 
.  -211 


Peter  L  TschaikowsLy     .     .     .127 

Knglish  Folk  Song 152 

Hugo  Kauti 250 

Peter  Christian  Lutkin    .     .     .210 

Adolf  Weidie 126 

Victor  Herbert 244 

Folk   .Sons- 18!) 

Wilhclm  Pctcrson-HerRer    .     .  290 
Peter  Christian  Lutkin    .     .     .    1S3 


.     Seymour  Barnard French  Christmas  Carol 

*  Comi)Osed  for  The  Prooressim  Musi^  Scries. 


lf.5 


307 

Hk 
III 

I'UKC 
(> 

104 
51 
44 

101 

10 

;i2 

148 

100 

9 

144 

Gi 
184 

5S 

43 


NOTE 

For  the  convenience  of  teachens,  the  variation.s  as  lietween  this  new 
previous  editions,  also  as  between  the  new  and  previous  editions  of  B(k> 

Manual, 
New  Ed. 
Page 

All  That's  Good  and  Great 29.5 

America 302 

American  Hymn:  The 298 

Beneath  the  Lilies .  254 

Boys'  Song.  The 267 

Children's  Hymn 292 

Child's  Fanc.\-,  .\ 272 

Come.  Dance  with  Me 270 

C«me,  Thou  Almighty  King 292 

Dragon  Flies 261' 

End  of  Summer 235 

Flowery  Omens       238 

Fountain,  The 25(> 

Green  World,  The 282 

Greeting 276 

Harvest  Slumber  Song 24S 

He  Shall  Feed  His  Flock 289 

In  Life  if  Love  We  Know  Not 284 

Integer  Yitac 292 

Jack  Frost       264 

Joy  of  Harvest.  Tlic 295 

Joys  of  Summer,  The 283 

Ladybird 275 

Lavender  Beds,  The 240 

Lullaby 258 

Morning 252 

Morning  Song.  .\ 265 

Now  with  Creation's  Morning  Song 296 

Oh,  Worship  the  King 296 

(_')ctober  Song 237 

Portuguese  H>-mn 294 

Pouts  and  Smiles 277 

Praise  to  God 297 

Sea  Princess.  The 240 

Skating  Song 

Song  for  Hal,  A 234 

Southland,  The 262 

Star-Spangled  Hanner,  The .'JOO 

Suggestion,  A 278 

Summer's  Good-b,\- 242 

Swing,  The 280 

What  I  Lo\-e 250 

Wind.  The 244 

Winter  Longing 290 

Omitted 

By  the  Rain 

Daybreak 

Roses 

Scotch  Piper,  The 

Yea  and  Nay 


edition  of  Manual.  Volume  111,  and 
k  Thri'c,  are  given  below. 


VoLUMF,  III 

Book 

THro;K 

FormcT  Ed. 

New  Ed. 

Former  E 

Pugi- 

Page 

I'agu 

303 

199 

199 

310 

206 

•206 

30(1 

202 

202 

25N 

152 

152 

271 

164 

164 

300 

195 

195 

278 

170 

170 

274 

168 

168 

300 

]93 

193 

243 

153 

153 

234 

132 

132 

2.54 

137 

148 

264 

154 

156 

290 

174 

174 

•282 

171 

171 

•236 

147 

134 

■297 

192 

192 

292 

181 

181 

301 

196 

196 

26.S 

162 

162 

303 

19.S 

198 

291 

185 

18S 

270 

163 

159 

252 

145 

146 

260 

156 

154 

256 

150 

150 

27(1 

169 

169 

304 

197 

197 

304 

200 

200 

251 

149 

149 

302 

194 

194 

2!S3 

173 

173 

305 

201 

201 

244 

138 

13.S 

1.57 

158 

•240 

134 

136 

2(!6 

1.5S 

160 

.30,S 

204 

204 

286 

175 

175 

24(1 

139 

139 

28S 

178 

178 

23S 

148 

135 

•248 

144 

144 

298 

184 

184 

250 

145 

284 

172 

241 

137 

263 

155 

281 

161 

h 


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